There were varying degrees of Romanization throughout Roman Dacia.	整个罗马达契亚有不同程度的罗马化。
The most Romanized segment was the region along the Danube, which was predominately under imperial administration, albeit in a form that was partially barbarized.	罗马化程度最高的部分是多瑙河沿岸地区，该地区主要由帝国管理，不过其形式为部分野蛮化。
The population beyond this zone, having lived with the Roman legions before their withdrawal, were substantially Romanized.	在罗马军团撤退前，该地区以外的人口与他们生活在一起，基本上已经罗马化。
The final zone, consisting of the northern portions of Maramures, Crisana, and Moldavia, stood at the edges of Roman Dacia.	最后一个区域由马拉穆列什、克里萨拉和摩尔达维亚组成，位于罗马达契亚的边缘。
Although its people did not have Roman legions stationed among them, they were still nominally under the control of Rome, politically, socially, and economically.	虽然罗马军团没有驻扎其中，但人们在政治、社会和经济方面仍然名义上处于罗马的控制之下。
These were the areas in which resided the Carpi, often referred to as the Free Dacians.	这些地区居住着卡尔皮人，通常被称为自由达契亚人。
In an attempt to fill the cities, cultivate the fields, and mine the ore, a large-scale attempt at colonization took place with colonists coming in "from all over the Roman world".	为了充盈城市、耕种田地和开采矿石，进行了大规模的殖民化尝试，殖民者“从罗马世界的各个角落”涌入。
The colonists were a heterogeneous mix: of the some 3,000 names preserved in inscriptions found by the 1990s, 74% (c. 2,200) were Latin, 14% (c. 420) were Greek, 4% (c. 120) were Illyrian, 2.3% (c. 70) were Celtic, 2% (c. 60) were Thraco-Dacian, and another 2% (c. 60) were Semites from Syria.	殖民者鱼龙混杂：在 20 世纪 90 年代发现的大约 3,000 个保存在铭文中的名字中，74%（约 2,200 人）是拉丁人，14%（约 420 人）是希腊人，4%（约 120 人）是伊利安人，2.3%（约 70 人）是凯尔特人，2%（约 60 人）是色拉科-达契亚人，另外 2%（约 60 人）是来自叙利亚的闪米特人。
Regardless of their place of origin, the settlers and colonists were a physical manifestation of Roman civilisation and imperial culture, bringing with them the most effective Romanizing mechanism: the use of Latin as the new lingua franca.	无论他们来自哪里，定居者和殖民者都是罗马文明和帝国文化的实际体现，他们带来了最有效的罗马化机制：使用拉丁语作为新的通用语。
The first settlement at Sarmizegethusa was made up of Roman citizens who had retired from the legions.	Sarmizegethusa 的第一个村落由从军团退役的罗马公民组成。
Based upon the location of names scattered throughout the province, it has been argued that, although places of origin are hardly ever noted in epigraphs, a large percentage of colonists originated from Noricum and western Pannonia.	根据散落该省各地的名称的位置来看，有人认为，尽管铭文中几乎没有注明原籍地，但很大一部分殖民者来自诺里库姆和潘诺尼亚西部。
Specialist miners (the Pirusti tribesmen) were brought in from Dalmatia.	专业矿工（佩拉斯特部落成员）是从达尔马提亚带来的。
These Dalmatian miners were kept in sheltered communities (Vicus Pirustarum) and were under the jurisdiction of their own tribal leadership (with individual leaders referred to as princeps).	这些达尔马提亚矿工被生活在群落庇护所 (Vicus Pirustarum) 并由他们自己的部落领导（称为第一公民的个人领袖）进行管辖。
An estimated 50,000 troops were stationed in Dacia at its height.	在达契亚的鼎盛时期，估计有 50,000 名士兵驻扎在达契亚。
At the close of Trajan's first campaign in Dacia in 102, he stationed one legion at Sarmizegetusa Regia.	102 年，在达契亚的第一次战役结束后，图拉真在 Sarmizegetusa Regia 驻扎了一个军团。
With the conclusion of Trajan's conquest of Dacia, he stationed at least two legions in the new province – the Legio IV Flavia Felix positioned at Berzobis, and the Legio XIII Gemina stationed at Apulum.	随着图拉真对达契亚的征服结束，他在这个新行省至少驻扎了两个军团 - 驻扎在 Berzobis 的 Flavia Felix 第四军团和驻扎在 Apulum 的 Gemina 第十三军团。
It has been conjectured that there was a third legion stationed in Dacia at the same time, the Legio I Adiutrix.	据推测，同一时期还有第三个军团驻扎在达契亚，那就是 Adiutrix 第一军团。
However, there is no evidence to indicate when or where it was stationed, and it is unclear whether the legion was fully present, or whether it was only the vexillationes who were stationed in the province.	不过，没有证据表明它于何时何地驻扎，也不清楚该军团是否全员出动，或者是否只有分队驻扎在该省。
Hadrian, the subsequent emperor, shifted the fourth legion (Legio IV Flavia Felix) from Berzobis to Singidunum in Moesia Superior, suggesting that Hadrian believed the presence of one legion in Dacia would be sufficient to ensure the security of the province.	后来的皇帝哈德良将第四军团（Flavia Felix 第四军团）从 Berzobis 转移到 Moesia Superior 的 Singidunum，表明了哈德良认为在达契亚派驻一个军团就足以确保该省的安全。
The Marcomannic Wars that erupted north of the Danube forced Marcus Aurelius to reverse this policy, permanently transferring the Legio V Macedonica from Troesmis (modern Iglița in Romania) in Moesia Inferior to Potaissa in Dacia.	多瑙河以北爆发的马克曼尼战争迫使马库斯奥雷留斯改变了这一策略，将马其顿第五军团从 Moesia Inferior 的 Troesmis（现今的罗马尼亚 lglita）永久转移到达契亚的 Potaissa。
The Kingston Fossil Plant is located on a peninsula at the junction of the Emory River (to the north) and Clinch River (to the south and east), just over 4 miles (6.4 km) upstream from the latter's mouth along the Tennessee River.	Kingston 化石发电厂位于埃默里河（北部）与克林奇河（南部和东部）交界处的一个半岛上，距离后者沿田纳西河的河口仅 4 英里（6.4 公里）。
Watts Bar Dam, located along the Tennessee 38 miles (61 km) downstream from the mouth of the Clinch, impounds a reservoir (Watts Bar Lake) that spans a 72-mile (116 km) stretch of the Tennessee (to Fort Loudoun Dam), the lower 23 miles (37 km) of the Clinch (to Melton Hill Dam), and the lower 12 miles (19 km) of the Emory.	Watts Bar 大坝位于克林奇河口下游 38 英里（61 公里）的田纳西河沿岸，蓄积的水库（Watts Bar 湖）横跨田纳西 72 英里（116 公里）（到 Fort Loudoun 大坝）、克林奇下游 23 英里（37 公里）（到 Melton Hill 大坝），以及埃默里下游 12 英里（19 公里）。
The plant, originally known as the Kingston Steam Plant, began operations in 1954, primarily to provide electricity to atomic energy installations at nearby Oak Ridge.	该工厂原名为 Kingston 蒸汽厂，于 1954 年开始运营，主要为附近 Oak Ridge 的原子能装置供电。
The plant contains nine units with a combined generating capacity of 1,398 megawatts, and burns about 14,000 tonnes (14,000,000 kg) of coal every day.	该厂有 9 台机组，总发电量为 1,398 兆瓦，每天燃烧约 14,000 吨（14,000,000 公斤）煤。
The plant's ash pond disposal area is located immediately north of the plant along the Emory River shore.	该厂的灰场处理区位于工厂北边的埃默里河岸边。
The ash pond, which was impounded by a dike that rose 60 feet (18 m) above the winter level and 741 feet (226 m) above sea level, contained a watery slurry of fly ash generated by the burning of finely ground coal at the power plant.	灰场由比冬季水位 60 英尺（18 米）高和海平面以上 741 英尺（226 米）的堤坝蓄水，里面有发电厂燃烧细碎煤炭所产生的水状飞灰浆。
Fly ash is the fine particulate pollutants produced by the combustion of coal, which are collected rather than allowing them to escape into the atmosphere, then mixed with water and pumped into a retaining pond, where the ash gradually settles to the bottom.	飞灰是煤炭燃烧产生的细粒污染物，它们会被收集起来，不会让它们逃逸到大气中，然后与水混合并泵入蓄水池，在那里煤灰逐渐沉淀到底部。
Once the particulate matter settles out, it is dredged and moved to drying cells.	颗粒物质沉淀后，就会被挖出并移至干燥室。
The 84-acre (0.34 km²) unlined above-ground dredge cell was surrounded by 60-foot (18 m) tall earthen dikes.	占地 84 英亩（0.34 平方公里）的无衬里地上疏浚室由 60 英尺（18 米）高的土堤包围。
The dike breach occurred at the northwest corner of the dewatering pond, overlooking the Swan Pond Creek spillway.	堤坝决口发生在脱水池的西北角，俯瞰 Swan Pond Creek 的泄洪道。
TVA had reportedly known about the dangers of using wet storage ponds for coal ash since a 1969 spill in Virginia in which coal ash seeped into the Clinch River and killed countless fish.	据报道，自从 1969 年弗吉尼亚州发生煤灰泄露事件，煤灰渗入克林奇河并导致无数鱼类死亡后，TVA 就知道了使用湿式储存池处理煤灰的危险性。
In the 1980s, TVA engineers raised concerns about the stability of ash ponds.	在 20 世纪 80 年代，TVA 的工程师提出了对灰池稳定性的担忧。
The utility repeatedly found leaks in levees and seepage in the soil at many of their ash ponds, including the ones at Kingston.	该电厂多次发现他们许多灰场的堤坝泄露并渗入土壤，其中就包括 Kingston 的灰场。
However, TVA continued to make small repairs instead of switch to dry storage systems which would have cost ratepayers tens of millions.	然而，TVA 继续进行小规模维修，而不是改用原本会耗费纳税人数千万美元的干式储存系统。
At the time of the disaster, TVA was using wet storage at six of their 11 coal-fired power plants.	在灾难发生时，TVA 旗下 11 家煤电厂中有 6 家在使用湿式储存。
Leaks at the Kingston ash ponds had reportedly been taking place since the early 1980s, and local residents said that the spill was not a unique occurrence.	据报道，自 20 世纪 80 年代初以来，Kingston 灰场一直在发生泄露，当地居民称，这次泄露并非特例。
The 1960s-era pond had been observed leaking and being repaired nearly every year since 2001.	自 2001 年以来，这个上世纪 60 年代的灰场几乎每年都发生泄露和修理。
The two worst leaks occurred in 2003 and 2006 in which TVA suspended all ash deposits in the ponds to allow the dredge cells to dry out and stabilize.	两次最严重的泄露发生在 2003 年和 2006 年，当时 TVA 暂停了灰场中的所有煤灰沉积以使疏浚室干燥并稳定下来。
An October 2008 inspection report had identified a "minor leak" in the faulty wall, but the report was not finalized.	2008 年 10 月的一份检查报告中认定故障墙体有“轻微泄露”，但并未最终敲定该报告。
The spill began sometime between midnight and 1 a.m.	泄露开始于午夜和凌晨 1 点之间的某个时间。
In January 1973 Young was made Chief of the Space Shuttle Branch of the Astronaut Office.	1973 年 1 月，Young 被任命为宇航员办公室航天飞机处处长。
In January 1974, he became Chief of the Astronaut Office after the retirement of Alan Shepard.	1974 年 1 月，在 Alan Shepard 退休后，他成为宇航员办公室主任。
Young flew two missions of the Space Shuttle, both aboard the Space Shuttle Columbia.	Young 执行了两次航天飞机的飞行任务，两次任务都在哥伦比亚号航天飞机上进行。
He commanded the program's 1981 maiden orbital flight, STS-1, and in 1983 commanded STS-9, which carried the first Spacelab module.	他指挥了该计划在 1981 年的首次轨道飞行 STS-1，并在 1983 年指挥 搭载了第一个太空实验室模块的 STS-9。
In 1986 he was in line to make a record seventh space flight on STS-61-J to deploy the Hubble Space Telescope, but the Space Shuttle Challenger disaster earlier that year had delayed NASA's schedule.	1986 年，他准备在 STS-61-J 上进行创纪录的第七次太空飞行，部署哈勃太空望远镜，但该年早些时候的挑战者号航天飞机灾难推迟了美国航空航天局的计划。
Young was openly critical of NASA management following the Challenger disaster, and in April 1987 was made Special Assistant to JSC Director Aaron Cohen for Engineering, Operations and Safety.	在挑战者号航天飞机灾难发生后，Young 公开批评美国航空航天局管理层，并于 1987 年 4 月被任命为 JSC 主任 Aaron Cohen 的工程、运营和安全特别助理。
NASA denied that his criticism triggered the move, although Young and industry insiders believed that was the reason for the reassignment.	尽管美国航空航天局否认他的批评引发了这一举动，不过 Young 和业内人士认为这是他被调任的原因。
In February 1996, he was assigned as Associate Director (Technical) JSC.	1996 年 2 月，他被任命为 JSC 副主任（技术）。
During his NASA career, Young logged more than 15,000 hours of training, mostly in simulators, to prepare for positions on eleven spaceflights in prime and backup crew positions.	Young 在美国航空航天局的职业生涯中，进行了超过 15,000 小时的训练，大部分在模拟器中进行，为 11 次太空飞行的主要和后备乘员位置做准备。
Young worked for NASA for 42 years and announced his retirement on December 7, 2004.	Young 为美国航空航天局工作了 42 年，于 2004 年 12 月 7 日宣布退休。
He retired on December 31, 2004, at the age of 74, but continued to attend the Monday Morning Meeting at the Astronaut Office at JSC for several years thereafter.	他于 2004 年 12 月 31 日退休，时年 74 岁，但此后数年继续参加在 JSC 宇航员办公室举行的周一早会。
He logged more than 15,275 hours flying time in props, jets, helicopters, and rocket jets; more than 9,200 hours in T-38s; and 835 hours in spacecraft during six space flights.	他在道具、喷气机、直升机和火箭喷气机上的飞行时间超过 15,275 小时；在 T-38 飞机上的飞行时间超过 9,200 小时；六次太空飞行中在航天器上飞行了 835 小时。
On April 12, 2006, Young appeared at the 25th anniversary of the STS-1 launch at the Kennedy Space Center Visitor Complex, along with pilot Robert Crippen.	2006 年 4 月 12 日，Young 亮相肯尼迪航天中心参观园区的 STS-1 发射 25 周年纪念会，一同出现的还有飞行员 Robert Crippen。
The two spoke of their experiences during the flight.	两人谈到了他们在飞行中的经历。
In 2012, Young published an autobiography, Forever Young.	2012 年，Young 出版了一本自传《永远的 Young》。
Young married Barbara White of Savannah, Georgia, and they had two children, Sandra and John.	Young 与佐治亚州 Savannah 的 Barbara White 结婚，生育了 Sandra 和 John 两个孩子。
They were divorced in 1972 after 16 years of marriage.	结婚 16 年后，他们于 1972 年离婚。
He later married Susy Feldman, and lived in El Lago, Texas, a suburb of Houston.	后来他与 Susy Feldman 结婚，住在德克萨斯州的 El Lago，位于休斯顿的郊区。
Young died on January 5, 2018, at his home in Houston of complications from pneumonia.	2018 年 1 月 5 日，Young 在休斯顿的家中因肺炎并发症去世。
He was 87.	享年 87 岁。
Abbotsford Bridge is a steel Allan truss bridge that is about 240 m (790 ft) in length.	Abbotsford 大桥是一座钢制艾伦桁架桥，全长约 240 米（790 英尺）。
The bridge also contains a single lift span about 20 m (66 ft) in length, which is still in working order.	该桥还有一个长约 20 米（66 英尺）的升降式桥孔，该桥孔仍处于工作状态。
It is two lanes wide through most of its length, but the lift span is only capable of carrying a single lane.	它的大部分长度为双车道，但升降式桥孔只能承载单车道。
The entire bridge has been marked with a single lane and has traffic lights on both ends to control vehicular flow.	整座桥被标为单车道，两端都有交通灯来控制车流量。
The bridge was completed in 1928 by the NSW Department of Public Works and, although opened as a traffic bridge, it was designed to carry the loads required for a railway, once the Mildura railway line had been extended over the bridge.	该桥于 1928 年由新南威尔士州公共工程部完成，虽然是作为交通桥开放，但在 Mildura 铁路线延伸过这座桥后，它被设计为承载铁路所需的负荷。
The line was never extended beyond Yelta, where the terminus remains to this day.	这条线路从未延伸到 Yelta 之外，那里的终点站至今仍在。
The location of the bridge was thought to be convenient, as it provided a link to the Sturt Highway without travelling farther upstream to Mildura.	这座桥的位置便利，因为它提供了连接 Sturt 公路的通道，不用再往上游的 Mildura 行进。
It is the only remaining steel truss bridge with a lift span on the Murray, although other lifting bridges still exist along the river.	这是 Murray 河上仅存的一座有升降式桥孔的钢桁架桥，不过沿河仍有其它升降桥。
The bridge was built after the decline in commercial river traffic on the Murray.	这座桥是在 Murray 河的商业河道交通衰退后建造的。
Due to its significance to the local area, it has been listed on the NSW State Heritage Register.	鉴于它对当地的重要性，它已被载入新南威尔士州遗产名录。
The nearby town of Wentworth was an important river port from which wool was shipped to the coast, and as such there was a variety of traffic in the area.	附近的 Wentworth 镇是一个重要的河港，羊毛从这里运往海岸，因此该地区交通便利。
In the 1890s, irrigated farming greatly expanded in Sunraysia region which is known for its fruit production, and traffic volumes increased further.	19 世纪 90 年代，以水果生产闻名的 Sunraysia 地区的灌溉农业大大扩张，交通量进一步增加。
It was decided to install a punt at this location (then known as Abbot's Ford).	人们决定在这个地方（当时称为 Abbot's Ford）安装一个船坞。
New South Wales and Victoria had signed an agreement towards constructing bridges for railways over the Murray to serve the settlements on the northern side.	新南威尔士州和维多利亚州签署了一项协议，将为 Murray 河上的铁路建造桥梁，来服务北侧的村落。
In 1923, a report was released that recommended going ahead with the building of four bridges, one of those being the future Abbotsford Bridge.	1923 年，在发布的一份报告中，建议继续建造四座桥梁，其中一座就是后来的 Abbotsford 大桥。
It was said a bridge in this area would benefit Curlwaa, Wentworth, and a proposed irrigation scheme to the north.	据称，在这个地区建桥将有利于 Curlwaa、Wentworth 和一项拟议的北部灌溉计划。
The cost was estimated at £78,000.	费用估计为 78,000 英镑。
It had been considered that it might be appropriate to combine these four bridges with locks, but this idea was rejected due to siting concerns.	有人认为也许可以将这四座桥与水闸结合起来，但由于选址问题，这个想法被拒绝。
In 1924, residents of nearby settlements urged construction of the railway line to the proposed bridge site, but they were told this extension of the line was to be delayed.	1924 年，附近村落的居民敦促将铁路线修建到拟议的桥址，但他们被告知铁路线延伸将被推迟。
Within that year it was decided that a bridge was to be constructed due to increased traffic volume, and tenders were let for manufacture of the bridge spans, construction of abutments and piles, and transport of materials to the future construction site.	同年，由于交通量增加，决定建造一座桥，并对桥孔的制造、桥墩和桩基的建造以及对日后工地的材料运输进行了招标。
Achebe expanded this criticism when he presented a Chancellor's Lecture at Amherst on 18 February 1975, 'An Image of Africa: Racism in Conrad's "Heart of Darkness"'.	1975 年 2 月 18 日，Achebe 在阿莫斯特发表了题为“非洲的形象 - 康拉德《黑暗之心》中的种族主义”的校长讲座，扩大了这种批评。
Decrying Joseph Conrad as "a bloody racist", Achebe asserted that Conrad's famous novel dehumanises Africans, rendering Africa as "a metaphysical battlefield devoid of all recognisable humanity, into which the wandering European enters at his peril."	Achebe 谴责约瑟夫康拉德是“血腥的种族主义者”，断言康拉德的名著将非洲人非人化，将非洲描绘为“一个没有任何可承认的人性的形而上的战场，彷徨的欧洲人进入这个战场会有危险”。
Achebe also discussed a quotation from Albert Schweitzer, a 1952 Nobel Peace Prize laureate: "That extraordinary missionary, Albert Schweitzer, who sacrificed brilliant careers in music and theology in Europe for a life of service to Africans in much the same area as Conrad writes about, epitomizes the ambivalence.	Achebe 还讨论了 1952 年诺贝尔和平奖得主 Albert Schweitzer 的一段话：“那个非凡的传教士 Albert Schweitzer 牺牲了在欧洲的音乐和神学造诣，在康拉德笔下的同一地区为非洲人服务，他是这种矛盾心里的缩影。”
In a comment which has often been quoted Schweitzer says: 'The African is indeed my brother but my junior brother.' And so he proceeded to build a hospital appropriate to the needs of junior brothers with standards of hygiene reminiscent of medical practice in the days before the germ theory of disease came into being." Some were surprised that Achebe would challenge a man honoured in the West for his "reverence for life".	在一段经常被引用的评论中，Schweitzer 说道：“非洲人确实是我的兄弟，但却是我的小弟。”于是他着手建造一所适合小弟需求的医院，其卫生标准不免让人想起病原菌学说出现前的医疗实践。”一些人对 Achebe 质疑一个在西方因“敬畏生命”而受到尊敬的人而感到吃惊。
The lecture caused a storm of controversy, even at the reception immediately following his talk.	这次演讲引起了一场争议风暴，甚至在他演讲之后的招待会上也是如此。
Many English professors in attendance were upset by his remarks; one elderly professor reportedly approached him, said: "How dare you!", and stormed away.	许多与会的英语教授对他的言论感到不满；据报道，一位年长的教授走到他面前，说：“你怎么敢！”，然后冲了出去。
Another suggested that Achebe had "no sense of humour", but several days later Achebe was approached by a third professor, who told him: "I now realize that I had never really read Heart of Darkness although I have taught it for years." Although the lecture angered many of his colleagues, he was nevertheless presented later in 1975 with an honorary doctorate from the University of Stirling and the Lotus Prize for Afro-Asian Writers.	另一位教授认为 Achebe“没有幽默感”，但几天后，第三位教授找到了 Achebe，告诉他：“我现在意识到，尽管我已经教了《黑暗之心》很多年，但我从来没有真正读懂过它。”虽然这次演讲激怒了他的许多同事，但他还是在 1975 年被授予斯特林大学荣誉博士学位和亚非拉作家莲花奖。
The first comprehensive rebuttal of Achebe's critique was published in 1983 by British critic Cedric Watts.	1983 年，英国批评家 Cedric Watts 发表了对 Achebe 的批判的第一次全面反驳。
His essay "A Bloody Racist: About Achebe's View of Conrad" defends Heart of Darkness as an anti-imperialist novel, suggesting that "part of its greatness lies in the power of its criticisms of racial prejudice." Palestinian–American theorist Edward Said agreed in his book Culture and Imperialism that Conrad criticised imperialism, but added: "As a creature of his time, Conrad could not grant the natives their freedom, despite his severe critique of the imperialism that enslaved them".	他的文章“血腥的种族主义者：关于 Achebe 对康拉德的看法”为《黑暗之心》辩护，认为它是一部反帝国主义的小说，暗示“它的伟大之处在于它对种族偏见的批评的力量。”巴勒斯坦裔美国理论家 Edward Said 在他的《文化与帝国主义》一书中同意康拉德批判了帝国主义，但他补充道：“作为他那个时代的产物，康拉德不能给予当地人自由，尽管他对奴役他们的帝国主义进行了严厉的批判。”
Building on Watts and Said, Nidesh Lawtoo argued that "underneath the first layer of straightforward opposition ... we find an underlying mimetic continuity between Conrad's colonial image of Africa [in Heart of Darkness] and Achebe's postcolonial representation" in Things Fall Apart.	在 Watts 和 Said 的基础上，Nidesh Lawtoo 认为，“在第一层直截了当的对立之下...我们发现康拉德[在《黑暗之心》中]的非洲殖民形象与 Achebe 在《瓦解》中的后殖民表现之间有一种潜在的模仿连续性。
Achebe's criticism has become a mainstream perspective on Conrad's work.	Achebe 的批判已经成为研究康拉德作品的主流观点。
The essay was included in the 1988 Norton critical edition of Conrad's novel.	这篇文章被收录在 1988 年诺顿批判版的康拉德小说中。
Editor Robert Kimbrough called it one of "the three most important events in Heart of Darkness criticism since the second edition of his book ..." Critic Nicolas Tredell divides Conrad criticism "into two epochal phases: before and after Achebe." Asked frequently about his essay, Achebe once explained that he never meant for the work to be abandoned: "It's not in my nature to talk about banning books.	编辑 Robert Kimbrough 称其为“自《黑暗之心》第二版以来对其批判的三大最重要事件之一……”，评论家 Nicolas Tredell 将康拉德批判“分为两个划时代的阶段：Achebe 之前和 Achebe 之后。”在人们经常问及他的文章时，Achebe 曾解释说他从未想过放弃这部作品：“谈论禁书并非我的本性。
I am saying, read it – with the kind of understanding and with the knowledge I talk about.	我说的是，带着我说的那种理解和知识去阅读。
And read it beside African works." Interviewed on National Public Radio with Robert Siegel, in October 2009, Achebe remains consistent, although tempering this criticism in a discussion entitled "'Heart of Darkness' is inappropriate": "Conrad was a seductive writer.	并且要连同非洲作品一起阅读。”2009 年 10 月，Achebe 在国家公共广播电台接受了 Robert Siegel 的采访，尽管在题为“《黑暗之心》不妥”的讨论中缓和了这种批判，但仍然保持一致。“康拉德是一位有魅力的作家。
He could pull his reader into the fray.	他可以把他的读者拉到战场。
And if it were not for what he said about me and my people, I would probably be thinking only of that seduction."	如果不是因为他对我和我的人民所说的话，我可能只会想到这种魅力。”
When he returned to the University of Nigeria in 1976, he hoped to accomplish three goals: finish the novel he had been writing, renew the native publication of Okike, and further his study of Igbo culture.	1976 年回到尼日利亚大学时，他希望达成三个目标：完成他一直写作的小说，更新本土出版物《奥基凯》，并进一步研究伊博文化。
He also showed that he would not restrict his criticism to European targets.	他还表明，他批判的对象并不局限于欧洲。
In an August 1976 interview, he lashed out at the archetypal Nigerian intellectual, who is divorced from the intellect "but for two things: status and stomach.	在 1976 年 8 月的一次采访中，他抨击了典型的尼日利亚知识分子，他们与智力脱节，“只为两点：地位和胃口。
On August 3, 2011, contestants Ricky Jaime and Sasha Mallory danced to "Schoolin Life" in Top 6 Perform round of the eighth season of the American television reality program and dance competition So You Think You Can Dance.	2011 年 8 月 3 日，在美国电视真人秀节目和舞蹈比赛《舞林争霸》第八季的 6 强表演赛中，参赛者 Ricky Jaime 和 Sasha Mallory 跳了“在校生活”。
Their dance performance was choreographed by Kumari Suraj.	他们的舞蹈表演由 Kumari Suraj 编舞。
Gwen Orel of The Wall Street Journal further described their performance during a review of that episode of the show: "He's in a fedora, and she's got a cute short swingy sheer skirt, with thigh high stockings and a garter belt, and a sheer purple blouse.	《华尔街日报》的 Gwen Orel 在对该节目那一集的评论中进一步描述了他们的表演：“他戴着宽沿绅士帽，她穿着可爱的短款摆动式薄纱裙，高筒袜和袜带，还有透明的紫色上衣。
I don’t get what this style really is, it seems to have a lot of arm movements, and some crouching jumps.	我不知道这种风格到底是什么，它似乎有许多手臂动作，还有一些蹲跳。
He doesn’t look quite sharp enough next to her.	他在她旁边看起来还不够犀利。
His split leap is phenomenal."	他的劈叉跳很惊人。”
The base slab, or pylon, of the tomb monument rests on a 38-centimetre (15 in) high plinth, separated by a cornice and concave mouldings.	墓碑的底板也叫塔台，位于 38 厘米（15 英寸）高的底座上，由檐口和凹模隔开。
The pylon is 1.39 metres (4.56 ft) high and 2.02 metres (6.63 ft) wide, decorated with a frieze of winged angel heads (perhaps seraphim) and garlands and ribbons.	塔台高 1.39 米（4.56 英尺），宽 2.02 米（6.63 英尺），装饰有带翅膀的天使头像（可能是六翼天使）和花环及缎带。
Above the pylon, separated by the cornice, are the three Virtues—from left to right, Faith, Charity, and Hope—in shell niches, separated by four Corinthian fluted pilasters.	塔台上方是由檐口隔开的三个美德 - 贝壳壁龛中从左到右是信仰、慈悲和希望，由四个柯林斯式的凹槽壁柱隔开。
Such a motif is unprecedented in Tuscan funerary sculpture but found at this date in Venice, Padua, and especially Cossa's native Naples.	这样的装饰图案在托斯卡纳的墓葬雕塑中前所未有，但在威尼斯、帕多瓦，特别是 Cossa 的故乡那不勒斯都能找到。
As a result, excursions to Venice have been suggested for both Michelozzo and Donatello.	因此，有人建议米开朗琪罗和多纳泰罗去威尼斯考察。
However, Janson suggests that one "need not go all the way to Venice" to find such motifs.	然而，Janson 建议，“不必去往威尼斯”就能找到这样的装饰图案。
Outside Florence, Virtues were common on tombs, with the cardinal Virtues used for laymen, and the theological virtues reserved for ecclesiastics, including the Brancaccio tomb.	在佛罗伦萨以外的地方，墓葬上的美德很常见，红衣主教的美德用于普通教徒，而神学美德留给教会人士，包括 Brancaccio 的墓。
However, the Cossa Virtues, from their hair to their sandals, are more thoroughly antique.	然而，Cossa 美德从他们的头发到他们的凉鞋，都更加彻底地古香古色。
Donatello also produced two similar bronze Virtues for the Siena Baptistry, whose chronological relationship to the Cossa Virtues is unclear.	多纳泰罗还为锡耶纳洗礼堂制作了两件类似的铜制美德，与 Cossa 美德的时间关系尚不清楚。
The 1.05-metre (3.44 ft) tall Faith, to the right of Charity, is holding a Eucharistic chalice; the 1.07-metre (3.51 ft) tall Charity is holding a cornucopia and a brazier (or flaming vase); and the 1.06-metre (3.48 ft) tall Hope, to the left of Charity, has hands clasped in prayer.	“慈悲”的右边是“信仰”，高 1.05  米（3.44 英尺），手持圣餐杯；“慈悲”高 1.07 米（3.51 英尺），手持聚宝盆和火盆（或火焰瓶）；“希望”位于“慈悲”左侧，高 1.06 米（3.48 英尺），双手合十祈祷。
The central figure of Charity is the most antique, assimilating elements of Classical depictions of Abundantia, Ceres, and Juno, all of which were depicted with cornucopias in their left hands.	“慈悲”的中心人物最古老，吸收了对 Abundantia、Ceres 和 Juno 的古典描绘元素，所有这些人都被描绘为左手拿着聚宝盆。
Besides underscoring the antiquity of the tomb monument, the main purpose of the tall yet poorly finished Virtues is to put additional vertical distance between the viewer and the effigy, which has the cumulative effect of de-emphasizing the peculiarities of Cossa, in favor of a generic pontiff (i.e. a potential line of Florentine popes), by blunting the "immediacy" of the trope of lying in state, which was otherwise dominant on Quattrocento wall tombs.	除了强调墓碑的古老性之外，高大但完成度不高的美德的主要目的是增加观者与雕像之间的垂直距离，它具有一种不予强调 Cossa 特性的累积效应，即通过减弱公众瞻仰的“直接性”，有利于普通教皇（即潜在的一系列佛罗伦萨教皇），而这种特质在 Quattrocento 墙上墓葬中占据主导地位。
On top of the sarcophagus, the bier of the effigy is supported by lions whose shape mimics Trecento consoles.	在石棺的顶部，雕像的棺材由形状模仿 Trecento 桌台的狮子支撑。
The lions may be based on the Florentine Marzocco, as if to mark John XXIII in the same manner as a conquered city-state.	这些狮子可能以佛罗伦萨的 Marzocco 为根据，仿佛是以被征服的城邦相同的方式来纪念约翰二十三世。
As Donatello's Marzocco for the papal apartment in Santa Maria Novella conveyed Florence's ambivalence towards Martin V (as both a source of prestige by visiting, and a potential adversary of the Republic), the lions supporting the bier contextualize the tomb monument's support for John XXIII's claim to the papacy by cementing it as a Florentine claim.	正如多纳泰罗为新圣母大殿所写的 Marzocco 传达了佛罗伦萨对马丁五世的矛盾态度（既是通过访问获得声望来源，又是共和国的潜在对手），支撑棺材的狮子使得墓碑支持约翰二十三世教皇地位的背景得以巩固，因而成为佛罗伦萨的主张。
Yet, any iconographical interpretation of the lions must be taken with a grain of salt as lions are symbolically promiscuous, and are also seen as supports on earlier tombs, such as that of Lapo de' Bardi (d. 1342) in the Bargello.	然而，对狮子的任何图像学解释都必须谨慎对待，因为狮子象征着混乱，并且在早期坟墓上也视为支撑物，例如 Bargello 的 Lapo de' Bardi（卒于 1342 年）。
The bier and the pall spread over it are tilted towards the viewer with the lion supporting the head standing 2-centimetre (1 in) shorter, increasing the visibility of the effigy, especially the head.	棺材和铺在上面的棺罩向观者倾斜，支撑头部的狮子矮了 2 厘米（1 英寸），增加了雕像的可见度，尤其是头部。
The gilded-bronze, life-size effigy itself makes no attempt to argue for Cossa's papal status, dressing Cossa clearly in the costume of a cardinal; the bedding it rests on is of un-gilt bronze.	真人大小的镀金青铜雕像本身并没有试图为 Cossa 的教皇地位辩护，而是让 Cossa 身着红衣主教服装，它所依靠的垫子是未镀金的青铜。
The opening in the 16th century of the sarcophagus confirmed that Cossa's actual burial clothes matched the effigy.	16 世纪石棺开棺证实了 Cossa 的实际葬服与雕像相符。
There was no precedent for a three-dimensional gilded-bronze effigy on an Italian tomb monument; there was, however, a 6-foot (1.83 m) gilt bronze statue on the balcony of the Palazzo della Briada in Bologna commissioned by Pope Boniface VIII.	在意大利的墓碑上没有三维镀金铜像的先例；不过，在 Bologna 的 Palazzo della Briada 露台上有一尊 6 英尺（1.83 米）的镀金铜像，由教宗波尼法爵八世委托制作。
Chief Wiggum pulls Troy McClure over for dangerous driving.	Wiggum 局长以危险驾驶为由将 Troy McClure 拦下。
Not wishing to be required to wear his glasses while driving, Troy goes to the DMV to get his license changed to remove the requirement.	特洛伊不希望被要求在驾驶时戴眼镜，于是去 DMV 更换了驾照，以解除这一要求。
He offers to take DMV employee Selma Bouvier to dinner if she lets him pass the eye test, to which she agrees.	他提出，如果 DMV 员工 Selma Bouvier 让他通过视力测试，就带她去用餐，她同意了。
After dinner, photographers notice Troy leaving with Selma and the story hits the news.	晚饭后，摄影师注意到 Troy 和 Selma 一同离开，这件事就上了新闻。
The next day, Troy's agent, MacArthur Parker, calls and says that he can get work again if he continues seeing Selma.	次日，Troy 的经纪人 MacArthur Parker 打电话说，如果他继续和 Selma 约会，他就能再次得到工作。
Troy continues to date her and his career begins to recover.	Troy 继续和她约会，他的事业开始恢复。
On his agent's advice, Troy asks Selma to marry him; she agrees.	在经纪人的建议下，Troy 向 Selma 求婚；她同意了。
The night before the wedding, a drunk Troy tells Homer the reason for his marriage: he doesn't really love Selma, and he just plans to use her as a sham wife to help further his career.	在婚礼前夜，喝醉了的 Troy 告诉 Homer 他结婚的原因：他并非真的爱 Selma，只是打算把她佯装妻子来帮助他的事业发展。
Although Homer fails to act, Marge and Patty try to explain it to Selma, who accuses them of just being envious.	虽然 Homer 没有采取行动，但 Marge 和 Patty 试图向 Selma 解释，Selma 指责他们只是嫉妒而已。
She confronts Troy, who shamelessly admits that their marriage is a sham but explains she has everything she could want and will be "the envy of every other sham wife in town".	她与 Troy 对峙，Troy 无耻地承认他们的婚姻是一场骗局，但解释说她拥有她想要的一切，并且会成为“城里其他所有妻子艳羡的对象”。
Selma has doubts, but accepts the situation because she fears being alone.	Selma 带着疑虑，但还是接受了这种情况，因为她害怕孤独。
Parker thinks he can get Troy the part of McBain's sidekick in McBain IV: Fatal Discharge, but concludes he will have a better chance if he has a family.	Parker 认为他可以让 Troy 成为《麦克贝恩 4：致命排放》中 Mcbain 的助手，但他得出结论，如果他有家庭的话机会更大。
Troy and Selma try to conceive a child, but neither feels comfortable with their situation, and Selma finally leaves after deciding that bringing a child into a loveless family is wrong.	Troy 和 Selma 想怀孩子，但两人都对自己的处境感到不称心，Selma 断定把孩子带到一个没有爱的家庭是错误的之后，终于离开了。
During the first half of the end credits, news confirmed that Troy turns down the role of McBain's sidekick to direct and star in his own film, The Contrabulous Fabtraption of Professor Horatio Hufnagel.	在谢幕的前半部分，有消息证实，Troy 拒绝了 McBain 的助手角色，执导并主演了自己的电影 《Contrabulous Fabtraption of Professor Horatio Hufnagel 》。
Show runners Bill Oakley and Josh Weinstein were fans of actor Phil Hartman, who had been a recurring guest star since the second season.	节目主持人 Bill Oakley 和 Josh Weinstein 是演员 Phil Hartman 的粉丝，他从第二季开始就经常客串。
They decided to produce an episode entirely about his character Troy McClure to give Hartman as much to do as possible.	他们决定制作一集完全关于他的角色 Troy McClure 的节目，以便让 Hartman 尽可能多地发挥。
Oakley wanted to explore Troy's character because he had never interacted with the show's other characters before, only appearing on television.	Oakley 想要探索 Troy 的性格，因为他以前从未与剧中其他角色互动过，只是在电视上出现过。
The writers chose the plot idea of Troy's marriage to Selma Bouvier because she was "always marrying people".	编剧选择了 Troy 与 Selma Bouvier 结婚的情节思路，因为她“总是在和人结婚”。
The episode's first draft was written by freelance writer Jack Barth, although the rest of the writing staff rewrote it.	该集的初稿由自由撰稿人 Jack Barth 撰写，不过其余编剧对它进行了改写。
One aspect of the rewrite was the song "Dr. Zaius" from the Planet of the Apes musical, which the staff consider to be one of the greatest musical numbers ever written for The Simpsons.	改写的一个方面是《人猿星球》音乐剧中的歌曲“Zaius 博士”，工作人员认为这是为《辛普森一家》创作的最伟大的音乐作品之一。
Clair was created for The Cosby Show by series creator, comedian Bill Cosby.	克莱尔是为《考斯比一家》创作的，由该剧集的创作者、喜剧演员比尔考斯比创作。
Cosby originally pitched a series about a detective who solves crime using his wit and humor; Clair's earliest incarnation resembled his character's girlfriend, who is depicted as "a strong woman with her own career." Networks were not interested in developing the series, so Cosby opted for a somewhat more autobiographical approach instead.	考斯比最初提出了一部关于运用他的机智和幽默来解决犯罪问题的侦探连续剧；克莱尔最早的化身类似于他这个角色的女友，她被描述为“一个有自己事业的女强人”。Networks 对制作该剧集不感兴趣，因此考斯比选择了一种带点自传性质的方式。
Cosby eventually based The Cosby Show on his stand-up comedy film Bill Cosby: Himself (1983), which heavily features jokes about his relationship with his wife and their interactions with their children.	考斯比最终以他的单口喜剧电影《比尔考斯比其人》(1983) 为基础拍摄了《考斯比一家》，其中大量笑话关于他与妻子的关系以及他们与孩子的互动。
Clair is based on Cosby's real-life wife Camille.	克莱尔的原型是考斯比现实生活中的妻子卡米尔。
Although the role of the parents in the show evolved dramatically from The Cosby Show's initial inception to final production, the one idea that was retained from Cosby's detective series was the concept of a strong career woman.	尽管从《考斯比一家》最初的构思到最后的制作，剧中父母的角色发生了巨大变化，但从考斯比的侦探剧集中保留下来的一种观点就是职场女强人的概念。
When Cosby originally pitched The Cosby Show to NBC, it revolved around the life of a blue-collar couple; Clair was intended to be a plumber while the character's husband Cliff, portrayed by Cosby himself, was a limousine driver.	在考斯比最初向 NBC 推荐《考斯比一家》时，它围绕一对蓝领夫妻的生活展开；克莱尔打算成为一名水管工，而这个角色的丈夫则是一名豪车司机，由考斯比本人饰演。
Eventually, the idea of Clair working as a plumber was discarded and the character briefly became a Dominican housewife instead.	最终，克莱尔当水管工的构思被抛弃，这个角色变成了一名昙花一现的多米尼加家庭主妇。
Inspired by Ricky Ricardo from the sitcom I Love Lucy, of whom Cosby was a fan, much of the show's humor would have been directly derived from Clair's tendency to revert to her native language Spanish when upset or agitated.	该剧的灵感来自情景喜剧《我爱露西》中的 Rick Ricardo，考斯比是他的粉丝，该剧的大部分幽默直接源自克莱尔在不开心或激动时倾向于使用母语西班牙语。
Describing this concept as "the reverse of [I Love] Lucy," Cosby explained that the husband "would be the person that didn’t understand when she spoke Spanish" as opposed to the wife.	考斯比将这一概念描述为“[我爱]露西的反面”，他解释说，不是妻子，而是丈夫“成为她说西班牙语时听不懂的人”。
Camille and executive producers Marcy Carsey and Tom Werner eventually convinced Cosby that the series should feature a family that resembled their own more closely, specifically one headed by a pair of successful parents with white-collar professions.	卡米尔和执行制片人马西凯瑟以及汤姆华纳最终说服了考斯比，认为该剧应以与他们自己的家庭更接近的家庭为主角，特别是由一对从事白领职业的成功父母领导的家庭。
Thus, Cosby relented and re-wrote Clair and Cliff into a lawyer and doctor, respectively.	于是，考斯比终于同意将克莱尔与克里夫分别改写为律师和医生。
The idea of Clair being Dominican was abandoned before the pilot was filmed.	克莱尔是多米尼加人的构思在试拍之前就被放弃。
However, the character still speaks some Spanish in the first episode and continues to speak the language periodically throughout the series, albeit not as frequently as Cosby had originally intended.	然而，该角色在第一集中仍会说点西班牙语，并在整个剧集中继续经常说这门语言，只不过不像考斯比当初设想的那样频繁。
Cosby borrowed several names from his real-life family for his fictional one; Clair's maiden name is Hanks, which she shares with Camille.	考斯比从他现实生活中的家庭借用了几个名字作为虚构家庭中的名字；克莱尔的婚前姓氏是汉克斯，她与卡米尔都用这个姓氏。
The second season explores each character gaining more responsibility, none more-so than Clair, who is deliberately provided with more storylines to experience and new emotions to express in terms of her relationship with her husband and children.	第二季探讨了每个角色获得更多的责任，尤其是克莱尔，她被刻意提供了更多的故事情节来体验，并在她与丈夫和孩子的关系方面表达新的情感。
Clair is portrayed by American actress Phylicia Rashad.	克莱尔由美国女演员菲利西亚拉斯海德饰演。
In addition to appearing in minor roles on both television and Broadway, Rashad had a recurring role as Courtney Wright on the soap opera One Life to Live before Cosby personally selected her to play his character's wife.	除了在电视和百老汇出演小角色外，在考斯比亲自挑选她饰演他的角色的妻子前，拉斯海德还在肥皂剧《只此一生》中多次饰演 Courtney Wright。
Several actresses auditioned for the role, the majority of whom tended to resort to angrily yelling and moving their heads in a manner similar to that of a bobblehead doll when scolding the child actors playing the character's children during their auditions.	多位女演员参加了该角色的试镜，大多数人在试镜过程中责骂扮演这个角色的孩子的儿童演员时，往往采取愤怒地大喊大叫和类似摇头公仔的方式摇动他们的头部。
However, Rashad's subtle interpretation was different from those of her competitors; when the actress screen tested opposite actor Malcolm Jamal-Warner, who would ultimately go on to portray son Theo, Rashad simply paused, stared and silently gave him "a look" instead of immediately scolding the character that, according to Cosby, meant "four or five things ... and none of them were good." At the end of Rashad's audition, Cosby announced "[Rashad is] Clair" to Carsey.	然而，拉斯海德的微秒解读与她的竞争对手不同；当这位女演员与最终扮演儿子 Theo 的演员马尔科姆贾马尔华纳进行试镜时，拉斯海德只是停顿了一下，盯着他然后默默地给了他“一个眼神”，而不是立即责骂这个角色，据考斯比说，这意味着“四五件事......而且都不是好事。”在拉斯海德试镜结束时，考斯比宣布“[拉斯海德就是]克莱尔”。
Additionally, because Clair was still intended to be of Dominican heritage at the time, Rashad's own bilingualism and fluency in Spanish benefited her successful casting.	此外，由于当时克莱尔的人设仍是多米尼加人，拉斯海德本身的双语能力和流利的西班牙语对她的成功选角受益匪浅。
Most of what is now NY 171 was improved to state highway standards as part of a project contracted out by the state of New York on July 12, 1916.	作为纽约州 1916 年 7 月 12 日外包项目的一部分，如今的 NY 171 大部分路段按州级公路标准进行了改进。 
The work covered the 5.10 miles (8.21 km) of the route outside of the Frankfort village limits.	该工程涵盖法兰克福村范围外 5.10 英里（8.21 公里）的路线。
The reconstruction was completed in the 1920s, and the Frankfort Gorge road was added to the state highway system as unsigned State Highway 1346 (SH 1346) by 1926.	重建工作在 20 世纪 20 年代完成，法兰克福峡谷公路在 1926 年作为无标志的 1346 (SH 1346) 州级公路纳入州级公路系统。
In the 1930 renumbering of state highways in New York, SH 1346 became part of NY 171, which continued northeast to Main Street in Frankfort on several state and locally maintained streets.	在 1930 年纽约州级公路重新编号时，SH 1346 成为 NY 171 的一部分，在几个州和当地维护的街道上继续向东北延伸到法兰克福主街。
At the time, Main Street was part of NY 5S, another route assigned as part of the renumbering.	当时，主街所属的 NY 5S 是作为重新编号的一部分分配的另一条路线。
In the late 1960s, a limited-access highway was constructed between Utica and Ilion alongside NY 5S. The new highway became part of a rerouted NY 5S in the early 1970s.	20 世纪 60 年代后期，在 Utica 和 Ilion 之间的 NY 5S 旁边修建了一条限制通行的公路。20 世纪 70 年代初，这条新公路成为改道后的 NY 5S 的一部分。
As a result, NY 171, which does not interchange with the highway, no longer connects to any other signed state routes.	因此，没有与该公路交汇的 NY 171 不再与任何其他有标志的州级道路连通。
NY 171 is the only signed state highway in New York that is completely isolated from the remainder of the state highway system.	NY 171 是纽约州唯一一条有标志的州级公路，与州级公路系统的其余部分完全隔离开来。
In 1992, Sony submitted plans that required approval by the New York City Planning Commission, in which it would take some of the open space in the building's atrium that had been used to obtain approval for additional floors on top of the building, and convert those areas into retail space.	1992 年，索尼提交了需要纽约市规划委员会批准的计划，其中将占用大楼中庭的一些开放空间，并将这些区域改建为零售空间，这些空间曾用于获得大楼顶部额外楼层的审批。
In exchange, the company would expand the glass-enclosed pedestrian walkway with the addition of planters and public seating.	作为交换，该公司将扩大玻璃封闭的人行道，增加花坛和公共座椅。
Sony expected that the proposed conversion of the 8,727 sq ft (810.8 m²) of public space could be converted into stores that could be leased at rates that The New York Times estimated could approach $200 per square foot.	据索尼预计，拟议的 8,727 平方英尺（810.8 平方米）的公共空间可以改建为商铺，据《纽约时报》估计其租赁价格可能接近每平方英尺 200 美元。
The company noted that the space was underutilized as a public amenity because it was "dark, windy and noisy" and that its conversion to commercial space would provide "retail continuity" with the remainder of Madison Avenue.	公司指出，该空间作为公共设施未得到充分利用，因为它“黑暗、风大、嘈杂”，将其改建为商业空间将为麦迪逊大道的其余部分提供“零售连续性”。
By 1996, Sony had consolidated most of the operations for its Sony Music Entertainment division at 550 Madison Avenue, for which The New York Times noted that "such high-profile and elaborate space is appropriate and necessary." That same year, Sony acquired additional space across the street at 555 Madison Avenue, a 445,000 sq ft (41,300 m²) building built in the 1960s that underwent renovations of its lobby, windows, bathrooms and other common spaces in conjunction with Sony's lease.	到 1996 年，索尼将索尼音乐娱乐部门的大部分业务整合到麦迪逊大道 550 号，《纽约时报》指出，“这样高调和精致的空间适当且有必要”。同年，索尼在街对面的麦迪逊大道 555 号购置了额外空间，这是一座建于 20 世纪 60 年代的 445,000 平方英尺（41,300 平方米）的大楼，根据索尼的租约对其大堂、窗户、浴室和其他公共空间均进行了翻新。
Sony signed leases through 2013 on an additional 90,000 sq ft (8,400 m²) on the sixth through ninth floors of the building, on top of an initial rental of 90,000 sq ft (8,400 m²) of space on the second through fifth floors of the building that it had made in 1995.	在 1995 年初次租赁这栋大楼二至五层 90,000 平方英尺（8,400 平方米）空间的基础上，索尼签署了一直到 2013 年的租约，租赁了大楼六到九层的另外 90,000 平方英尺（8,400 平方米）空间。
Rents on the floors had averaged about $34 per square foot at the time.	当时这些楼层的租金平均约为每平方英尺 34 美元。
Sony connected the two buildings using fiber optic cables that were run under Madison Avenue and installed microwave communications equipment on the top of the 555 building.	索尼用光缆将这两栋大楼连通，光缆从麦迪逊大道下面穿过，并在 555 号大楼楼顶安装了微波通信设备。
Sony made these moves, which included early termination of leases on space in the surrounding area at 711 Fifth Avenue on the 43rd floor at 9 West 57th Street, as part of an effort to lower occupancy costs by bringing its businesses closer together.	索尼做出这些举动，包括提前终止位于 9 West 57 街 43 楼的第五大道 711 号周边地区空间租约，是为了通过拉近业务而降低占用成本。
A cash-strapped AT&T sold the building to Sony in 2002 for $236 million, or $315 per square foot.	2002 年，资金拮据的 AT&T 以 2.36 亿美元，即每平方英尺 315 美元的价格将这栋大楼出售给索尼。
The building incorporated the Sony Wonder Technology Lab, a multimedia hands-on tour through the world of media, located in a four-story annex accessible through a glass-roofed atrium that connects 55th and 56th Streets in mid-block.	这栋大楼中有一间索尼奇迹技术实验室，提供遨游于媒体世界的多媒体实践之旅，位于一栋可以通过玻璃屋顶的中庭进入的四层附属建筑中，中庭连接街区中的第 55 和 56 街。
It was open on Tuesdays through Saturdays, and Sony described the free exhibits as a "technology and entertainment museum for all ages".	它在星期二至星期六开放，索尼将其免费展品描述为“适合所有年龄的技术和娱乐博物馆”。
During 2008, the museum's third and fourth floors underwent renovations that were completed in fall 2008.	2008 年间，博物馆三楼和四楼进行了翻新，并于 2008 年秋季竣工。
Sony Wonder replaced Infoquest Center, a permanent telecommunications exhibition that had been built by AT&T.	索尼神奇技术实验室取代了 Infoquest 中心，它是由 AT&T 建造的永久性电信展览馆。
Sony permanently closed the lab on January 29, 2016.	2016 年 1 月 29 日，索尼永久关闭了该实验室。
On February 27, 2010, an accumulation of ice from the February 25–27, 2010 North American blizzard broke loose from an upper floor, breaking the glass ceiling of the atrium and injuring at least 15 inside who were attending a Purim celebration.	2010 年 2 月 27 日，2010 年 2 月 25-27 日北美暴风雪造成的积冰从上层松脱，打破了中庭的玻璃天花板，造成里面至少 15 名正在参加普珥节庆祝活动的人受伤。
In December 2012, bidding started on the building and in January 2013 Sony announced plans to sell the building to the Chetrit Group for $1.1 billion – $685 million more than it had paid for it.	2012 年 12 月，该栋大楼开始招标，2013 年 1 月，索尼宣布计划以 11 亿美元的价格将该栋大楼出售给 Chetrit 集团 - 比曾经为它支付的价格多出 6.85 亿美元。
Sony leased back its offices there through 2016, when it moved its headquarters south to 11 Madison Avenue.	索尼在那里租回了租约一直延续到 2016 年的办公室，将其总部南迁至麦迪逊大道 11 号。
The Chetrit Group planned to redevelop the building as a combination of condominiums and a hotel.	Chetrit 集团计划将该栋大楼重新开发为公寓和酒店的组合。
Chetrit abandoned this plan and sold the building to Olayan and Chelsfield in 2016, relinquishing the "Sony Tower" name.	Chetrit 放弃了这一计划，并在 2016 年将该栋大楼出售给 Olayan and Chelsfield，放弃了“索尼大厦”的名称。
McNicoll relinquished command of HMAS Australia in July 1954 before the cruiser was paid off and marked for disposal the following month, and he briefly returned to duties at the Navy Office.	1954 年 7 月，McNicoll 放弃了对 HMAS 澳大利亚号的指挥权，随后这艘巡洋舰被付清，并在次月标记为处置，他暂时回归海军办公室的职责。
In November, he embarked for London to attend the Imperial Defence College as part of the 1955 course intake, which signified that he had been marked for senior command. McNicoll and his wife, Ruth, had separated in 1950 and their divorce, which cited adultery as the cause, was finalised in October 1956, while the former was still in London.	11 月，作为 1955 年课程入学的一部分，他前往伦敦就读帝国国防学院，这标志着他已经被标记为高级指挥官。McNicoll 和他妻子 Ruth 于 1950 年分居，他们于 1956 年 10 月以通奸为由最终离婚，当时前者仍住在伦敦。
On 17 May the following year, McNicoll wed Frances Mary Chadwick, a journalist, in the Hampstead register office.	次年 5 月 17 日，McNicoll 在 Hampstead 登记处与记者 Frances Mary Chadwick 结婚。
Made acting rear admiral in January 1957, McNicoll was appointed as Head of the Australian Joint Service Staff in London.	1957 年 1 月 McNicoll 被任命为代理海军少将，担任澳大利亚驻伦敦联合服务参谋部主任。
He returned to Australia in February 1958 and was selected to serve as Deputy Secretary (Military) at the Department of Defence; McNicoll's rank was made substantive in July that year.	1958 年 2 月他回到澳大利亚，获选国防部副部长（军事）；同年 7 月 McNicoll 的军衔被定为实职。
On 8 January 1960, McNicoll was posted to the Naval Board in Canberra as Second Naval Member and Chief of Personnel.	1960 年 1 月 8 日，McNicoll 被派往堪培拉海军委员会担任第二海军委员和人事部长。
As noted by historian Ian Pfennigwerth, McNicoll held this position at a time in which recruitment and retention in the Navy particularly lagged behind targets.	正如历史学家 Ian Pfennigwerth 指出的那样，McNicoll 担任这一职务期间的海军招聘和留用工作尤其落后于目标。
McNicoll was additionally appointed as a trustee of the RAN Relief Trust Fund during this period.	在此期间，McNicoll 还被任命为 RAN 救济信托基金的托管人。
Completing his term on the Naval Board, McNicoll was posted as Flag Officer Commanding HM Australian Fleet on 8 January 1962 and hoisted his standard aboard HMAS Melbourne, the flagship of the RAN.	完成海军委员会的任期后，McNicoll 于 1962 年 1 月 8 日被任命为 HM 澳大利亚舰队司令官，并在 HMAS 墨尔本号上升起了他的旗帜。 
The Australian government had designated the role of the RAN to be primarily one of anti-submarine warfare, a posture which McNicoll thought unwise.	澳大利亚政府已指明 RAN 的作用主要是反潜战，McNicoll 认为这种姿态不明智。
McNicoll argued that surface and air weapons posed a threat equal to that of submarines toward vessels in modern naval warfare.	McNicoll 认为，在现代海战中，水面和空中武器对船只构成的威胁与潜艇对船只的相当。
As such, he campaigned for a contemporary aircraft carrier to replace that of HMAS Melbourne.	因此，他为建造一艘当代航母来取代 HMAS 墨尔本号而奔走呼号。
The Army and Air Force opposed McNicoll's stance, and the government ultimately concluded that there was no strategic requirement for a new carrier in light of agreements contained in the Southeast Asia Treaty Organization.	陆军和空军反对 McNicoll 的立场，政府最终得出结论，根据东南亚条约组织中的协议，对新航母没有战略要求。
In any event, McNicoll experienced a particularly demanding tenure as Fleet Commander since the RAN was in the process of a complete overhaul of its order of battle and, as a consequence, he had to manage the introduction and deployment into service of six Ton-class minesweepers acquired from the Royal Navy, along with the first batch of Westland Wessex helicopters and modernised afloat support capabilities.	无论如何，McNicoll 作为舰队指挥官经历了特别艰难的任期，因为 RAN 正在对其战斗秩序进行全面改革，因此，他必须管理从皇家海军购买的六艘吨级扫雷舰的引进和部署，以及第一批 Westland Wessex  直升机和现代化的海上支援能力。
Furthermore, McNicoll was charged with the responsibility of ensuring Australian naval commitments to the Far East Strategic Reserve were met.	此外，McNicoll 还负责确保澳大利亚海军对远东战略储备的承诺得到履行。
McNicoll's two-year term as Fleet Commander concluded on 6 January 1964, at which point he returned to the Naval Board as Fourth Naval Member and Chief of Supply.	1964 年 1 月 6 日 McNicoll 结束了作为舰队指挥官的两年任期，这时他重返海军委员会担任第四海军委员和补给部长。
However, this post proved short-lived with his appointment as Flag Officer-in-Charge East Australia Area, headquartered at the land base HMAS Kuttabul in Sydney, from June that year.	然而，这个职位被证明很短暂，因为从该年 6 月起，他被任命为总部设在悉尼的 HMAS Kuttabul 陆地基地的东澳大利亚地区旗官。
In the 1965 New Year Honours, McNicoll was appointed a Companion of the Order of the Bath.	在 1965 的新年荣誉中，McNicoll 获颁巴斯勋章。
On 24 February 1965, McNicoll was promoted vice admiral and made Chief of Naval Staff (CNS) in succession to Vice Admiral Sir Hastings Harrington.	1965 年 2 月 24 日 McNicoll 晋升为海军中将，担任海军参谋长 (CNS)，接替海军中将 Hastings Harrington 爵士。
By virtue of this position, McNicoll was head of the Naval Board and the functional commander of the RAN. McNicoll's term as CNS was characterised by a period of heightened activity for the RAN in light of the Australian commitments to the Indonesia–Malaysia Konfrontasi and the Vietnam War.	凭借这一职位，McNicoll 成为海军委员会主席和 RAN 的职能指挥官。在 McNicoll 担任 CNS 期间，鉴于澳大利亚对印尼-马来西亚对抗战和越南战争的承诺，澳大利亚海军在这一时期的活动非常频繁。
The first movement is longer and more complex than any that Mozart had previously composed in the concerto genre.	第一乐章比莫扎特以前创作的任何协奏曲都更长、更复杂。
It is in ; among Mozart's 27 piano concertos, No. 4 in G Major, No.	在莫扎特的 27 首钢琴协奏曲中，G 大调第 4 钢琴协奏曲、
11 in F major and No. 14 in E♭ major are the only others to commence in triple metre.	F 大调第 11 钢琴协奏曲和 E♭ 大调第 14 钢琴协奏曲是唯一以三拍子开始的作品。
The first movement follows the standard outline of a sonata form concerto movement of the Classical period.	第一乐章遵循古典时期奏鸣曲式协奏曲的标准提纲。
It begins with an orchestral exposition, which is followed by a solo exposition, a development section, a recapitulation, a cadenza and a coda.	它以管弦乐呈示部开始，之后是独奏呈示部、发展部、再现部、华彩段和尾声。
Within this conventional outline, Mozart engages in extensive structural innovation.	在这个传统的提纲中，莫扎特进行了广泛的结构创新。
The development begins with the piano repeating its entry to the solo exposition, this time in the relative major of E♭.	发展部开始时，钢琴反复进入独奏呈示部，这次是用 E♭ 的相对大调。
The Concerto No. 20 is the only other of Mozart's concertos in which the solo exposition and the development commence with the same material.	第 20 号协奏曲是莫扎特唯一一首其中的独奏和发展部以相同材料开始的协奏曲。
In the Concerto No. 24, the material unfolds in the development in a manner different from the solo exposition: the opening solo motif, with its half cadence, is repeated four times, with one intervention from the woodwinds, as if asking question after question.	在第 24 号协奏曲中，发展部的材料以不同于独奏呈示部的方式展开；开场独奏主题以半拍重复四次，木管乐器介入一次，仿佛在问一个又一个问题。
The final question is asked in C minor and is answered by a descending scale from the piano that leads to an orchestral statement, in F minor, of the movement's principal theme.	最后一个问题用 C 小调提出，并由钢琴的一个下降音阶来回答，以 F 小调的管弦乐陈述该乐章的主要主题。
The orchestral theme is then developed: the motif of the theme's fourth and fifth measures descends through the circle of fifths, accompanied by an elaborate piano figuration.	管弦乐主题随后得到发展：主题的第四和第五小节的主题通过五度音圈下降，伴随精心制作的钢琴构图。
After this, the development proceeds to a stormy exchange between the piano and the orchestra, which the twentieth-century Mozart scholar Cuthbert Girdlestone describes as "one of the few [occasions] in Mozart where passion seems really unchained", and which Tovey describes as a passage of "fine, severe massiveness".	在此之后，发展部继续进入钢琴和管弦乐队之间的激烈交锋，二十世纪的莫扎特学者 Cuthbert Girdlestone 将其描述为“莫扎特为数不多的激情似乎不受约束的[场合]之一”，而 Tovey 将其描述为一段“精美、排山倒海之势”。
The exchange resolves to a passage in which the piano plays a treble line of sixteenth notes, over which the winds add echoes of the main theme.	交换的结果是钢琴演奏出十六分音符的高音线，管乐在此基础上加入主旋律的回声。
This transitional passage ultimately modulates to the home key of C minor, bringing about the start of the recapitulation with the conventional re-statement, by the orchestra, of the movement's principal theme.	这段过渡性的乐段最终调整为 C 小调的主调，再现部开始，管弦乐队以常规方式再述该乐章的主旋律。
The wide range of thematic material presented in the orchestral and solo expositions poses a challenge for the recapitulation.	管弦乐和独奏呈示部中的主体材料范围广泛，对再现部提出了挑战。
Mozart manages to recapitulate all of the themes in the home key of C minor.	莫扎特设法在 C 小调的主调中再现所有主题。
The themes are necessarily compressed, are presented in a different order, and in their restated form, contain few virtuosic moments for the soloist.	这些主题必然被压缩，以不同的顺序和重述的形式呈现，独奏者技巧性的时刻寥寥无几。
The last theme to be recapitulated is the secondary theme of the orchestral exposition, which has not been heard for some 400 measures and is now adorned by a passage of triplets from the piano.	再现的最后一个主题是管弦乐呈示部的次要主题，它已经有大约 400 小节没有被听到，现在由钢琴的三连音段落来装饰。
The recapitulation concludes with the piano playing arpeggiated sixteenths before a cadential trill leads into a ritornello.	再现部的最后，钢琴弹出了十六分音符的琶音，然后由节奏颤音引出回奏曲。
The ritornello in turn leads into a fermata that prompts the soloist's cadenza.	回奏曲进而又引出提示独奏者华彩段的延音。
"All of Creation" was nominated for two awards at the 42nd GMA Dove Awards: "Song of the Year" and "Pop/Contemporary Recorded Song of the Year".	“一切造物”在第 42 届 GMA 圣鸽奖上获得两项提名：“年度歌曲”和“年度流行/当代唱片歌曲”。
It was also nominated for "Christian Song of the Year" at the 2011 Billboard Music Awards.	它还被提名为 2011 年公告牌音乐奖的“年度基督教歌曲”。
"The Ones" was written by co-executive producer Jack Burditt, and directed by Beth McCarthy, a long-time television director who worked with series creator Tina Fey on the sketch comedy show Saturday Night Live.	“The Ones”由联合执行制片人 Jack Burditt 编剧，由长期电视导演 Beth McCarthy 执导，她曾与该系列的创作者 Tina Fey 在小品喜剧节目《周六夜现场》中合作过。
This was Burditt's tenth writing credit, and was McCarthy's sixth directed episode.	这是 Burditt 的第十部作品，也是 McCarthy 执导的第六集。
"The Ones" originally aired on NBC in the United States on April 23, 2009.	“The Ones”最初于 2009 年 4 月 23 日在美国 NBC 播出。
At the beginning of the episode, Jack and Liz are at a jewelry store, as Jack is searching for an engagement ring for Elisa.	在这一集的开头，杰克和丽兹在一家珠宝店，因为杰克正在为伊莉莎寻找订婚戒指。
They shot that scene in a Cartier store in New York's Fifth Avenue, which was filmed on February 22, 2009. A scene featuring Sue LaRoche-Van der Hout (Sue Galloway) as the Grim Reaper, in which Jenna is led to believe Kenneth has gone into shock because of the strawberries, was cut from the airing.	他们在纽约第五大道的一家卡地亚商店拍摄了这一场景，拍摄时间为 2009 年2 月 22 日。一场由 Sue LaRoche-Van der Hout (Sue Galloway) 饰演 Grim Reaper 的戏，即引导珍娜相信肯尼斯因为草莓而休克的戏份，在播出时被剪。
According to Jane Krakowski, in the DVD commentary for this episode, there were alternate scenes with Jenna letting Kenneth know about the tampering she did to Kenneth's items, his chickpea, water bottle, and harmonica.	据 Jane Krakowski 说，在这一集的 DVD 评论中，有一些交替的场景是珍娜让肯尼斯知道她对肯尼斯的东西，即他的鹰嘴豆、水瓶和口琴动了手脚。
"The Ones" was actress Salma Hayek's final guest appearance on 30 Rock.	“The ones”是女演员萨尔玛海耶克最后一次客串《我为喜剧狂》。
Her first appearance on the show was in the episode "Señor Macho Solo", as a nurse for Jack's mother and love interest for him.	她在该节目中的第一次亮相是在“Señor Macho Solo”一集中，饰演杰克母亲的护士和他的恋爱对象。
She next guest-starred in the episodes "Flu Shot", "Generalissimo", "St.	她接下来客串了“流感疫苗”、“大元帅”、“情
Valentine's Day", and "Larry King".	人节”和“拉里金”。
News anchor Brian Williams, of NBC Nightly News, guest-starred as himself in this episode.	NBC 晚间新闻的新闻主播 Brian Williams 在这一集里客串他本人。
In a scene with Tracy and Jack at a club, Tracy reveals to Jack that he has been giving out his phone number to different women, though it is not his real number, which results in Williams receiving the calls.	在特蕾西和杰克在俱乐部的一场戏中，特蕾西向杰克透露，他一直在向不同女人告知电话号码，不过并不是他的真实号码，这导致威廉姆斯接到了这些电话。
Kenneth revealing that his real name is "Dick Whitman" is a reference to the main character Don Draper of Mad Men (played by Jon Hamm, who had a recurring role on 30 Rock earlier in the season).	肯尼斯透露他的真名是“迪克惠特曼”，是《广告狂人》中的主角唐德雷柏（由乔哈姆饰演，他在本季早些时候曾在《我为喜剧狂》中扮演过一个经常出现的角色）。
"Earn this", spoken by Kenneth as Jenna has poisoned him again, references the 1998 film Saving Private Ryan when actor Tom Hanks says the same words to actor Matt Damon's title character.	肯尼斯在珍娜再次给他下毒时说的“善待它”，参考了 1998 年的电影《拯救大兵瑞恩》，当时男演员汤姆汉克斯对饰演主角的男演员马特达蒙说了同样的话。
When she is told that Kenneth has gone into a severe allergic shock and needs to have his hands cut off, Jenna apologizes to him for what she has done, telling him "I'm just a girl sitting in front of a boy she poisoned so this other guy would go to town on her", which Jenna misquotes from actress Julia Roberts' character from the romantic comedy Notting Hill (1999).	当她被告知肯尼斯出现了严重的过敏性休克并且需要砍掉他的双手时，珍娜为她的所作所为向他道歉，告诉他“我只是一个坐在她毒害的男孩面前的女孩，会有另一个男人会去城里找她”，珍娜错误地引用了浪漫喜剧《诺丁山》(1999) 中女演员茱莉亚罗伯茨的角色。
After Kenneth drinks his strawberry water, as he risked his life so that Jenna can meet the paramedic again, Jenna says to Kenneth "You magnificent sonofabitch!", a line quoted by actor George C. Scott in the American biographical war film Patton (1970).	肯尼斯喝下草莓水后，冒着生命危险让珍娜再次见到救护人员，珍娜对肯尼斯说“你这个了不起的混蛋！”，这是男演员乔治 C 斯科特在美国传记战争片《巴顿》(1970) 中说过的一句话。
Kenneth blows white smoke out while referencing bringing back something from "the other side" (death) echoes the same look when actor Haley Joel Osment remarked "I see dead people" in the movie The Sixth Sense (1999).	肯尼斯在提到从“另一个世界”（死亡）带回一些东西时吹出了白烟，这与电影《第六感》(1999) 中演员海利乔尔奥斯曼说“我看到死人”的表情相呼应。
The final three clips in the montage of Tracy taking off his shirt are real clips from Tracy Morgan interviews.	特蕾西脱下衬衫的剪辑中的最后三个片段是特蕾西摩根采访的真实片段。
Also, Elisa wears a "What the Frak?!" Battlestar Galactica t-shirt, as she admits her secret to Jack and Liz. "It's not product placement—I just like it!", says Liz to Jack, after he storms into her office and she is wearing a Slanket, a sleeved blanket with sleeves usually made of fleece material.	此外，伊莉莎穿了一件“搞什么？！”的太空堡垒卡拉狄加 T 恤，因为她向杰克和丽兹承认了她的秘密。“这不是产品植入 - 我就是喜欢而已！”，在杰克冲进她办公室后，丽兹这样对他说，她穿着袖毯，一种袖子通常由羊毛材料制成的带袖毛毯。
In its original American broadcast, "The Ones" was watched by 6.3 million households, according to the Nielsen ratings system.	根据尼尔森评级系统，在最初的美国广播中，有 630 万户家庭观看了“The Ones”。
Caesium is a relatively rare element, estimated to average 3 parts per million in the Earth's crust.	铯是一种相对稀有的元素，据估计在地壳中的平均含量为百万分之三。
It is the 45th most abundant element and the 36th among the metals.	它是第 45 位最丰富的元素，在金属中排名第 36 位。
Nevertheless, it is more abundant than such elements as antimony, cadmium, tin, and tungsten, and two orders of magnitude more abundant than mercury and silver; it is 3.3% as abundant as rubidium, with which it is closely associated, chemically.	然而，它比锑、 镉、锡和钨等元素丰富，比汞和银的含量高两个数量级；它的含量是铷的 3.3%，在化学上，它与铷密切相关。
Due to its large ionic radius, caesium is one of the "incompatible elements".	由于其离子半径大，铯是“不相容元素”之一。
During magma crystallization, caesium is concentrated in the liquid phase and crystallizes last.	在岩浆结晶过程中，铯以液相浓缩，最后结晶。
Therefore, the largest deposits of caesium are zone pegmatite ore bodies formed by this enrichment process.	因此，最大的铯矿床是由这种富集过程形成的分带伟晶岩矿体。
Because caesium does not substitute for potassium as readily as rubidium does, the alkali evaporite minerals sylvite (KCl) and carnallite (KMgCl	由于铯不像铷那样容易替代钾，碱蒸发岩矿物锡石 (KCl) 和光卤石 (KMgCl
₃·6H	₃·6H
₂O) may contain only 0.002% caesium.	₂O) 可能仅含 0.002% 的铯。
Consequently, caesium is found in few minerals.	因此，只在少数矿物中发现了铯。
Percentage amounts of caesium may be found in beryl (Be	在绿柱石 (Be
₃Al	₃Al
₂(SiO	₂(SiO
₃)	₃)
₆) and avogadrite ((K,Cs)BF	₆) 和氟硼钾石 ((K,Cs)BF
₄), up to 15 wt% Cs₂O in the closely related mineral pezzottaite (Cs(Be₂Li)Al₂Si₆O₁₈), up to 8.4 wt% Cs₂O in the rare mineral londonite ((Cs,K)Al	₄) 中可发现铯的百分比含量，在密切相关的矿物草莓红绿柱石 (Cs(Be₂Li)Al₂Si₆O₁₈) 中高达 15 wt% CS2O，在稀有矿物伦敦石 ((Cs,K)Al
₄Be	₄Be
₄(B,Be)	₄(B,Be)
₁₂O	₁₂O
₂₈), and less in the more widespread rhodizite.	₂₈) 中高达 8.4 wt% CS2O，而在分布更广的棱菱锰矿中含量较少。
A major theme in this story is that of a symbiotic relationship between a planet and its inhabitants, similar to that in The Word for World Is Forest.	这个故事的主要主题是一个星球与其居民之间的共生关系，与《世界的名字是森林》中的主题相似。
In her introduction to the story, Le Guin stated "We all have forests in our minds.	在这个故事的介绍中，Le Guin 说道：“我们心中都有森林。
Forests unexplored, unending.	未经探索的森林，没有尽头。
Each of us gets lost in the forests, every night, alone." The "vegetable love" referred to in the poem from which the title is taken can be used to describe the final relationship between Osden and the planetary intelligence of World 4470.	每天晚上独自一人时，我们每个人都会在森林里迷路。”标题出处的那首诗中提到的“植物之爱”可以用来描述 Osden 和 4470 世界的行星智能之间的最终关系。
When Osden is attacked by Porlock in the planet, he transmits his fear to the planet, which amplifies it and reflects it back at him.	当 Osden 在这个星球上受到 Porlock 攻击时，他将恐惧传给了星球，而星球将其放大并反射到他身上。
Thus Osden's role is similar to that of Selver in The Word for World is Forest, in that he introduces violence to the forest world.	因此，Osden 的角色类似于《世界的名字是森林》中的 Selver，因为他将暴力引入了森林世界。
The intelligence of Le Guin's forest has been contrasted to the "low" position occupied by vegetative beings in the works of other science fiction authors such as Arthur C. Clarke.	Le Guin 笔下森林的智慧与 Arthur C. Clarke 等其他科幻作家作品中的植物人所占据的“低级”地位形成对比。
An additional similarity between The Word for World Is Forest and "Vaster than Empires" is the theme of first contact between humans and a new environment.	《世界的名字是森林》和《甚于帝国》之间的另一个相似之处是人类与新环境的首次接触的主题。
In "Vaster than Empires," the forest is both the setting for the story and a character in it.	在《甚于帝国》中，森林既是故事的背景，也是其中的一个角色。
The forest directly responds to the humans with fear, a response that is similar to the response of Osden, the empath, to the rest of society: "the normal defensive-aggressive reaction between strangers meeting." Thus Le Guin makes an analogy between contact between humans and aliens, and contact between individual humans; both are contact between the self and the "other".	森林以恐惧直接回应人类，这种回应类似于异能者 Osden 对社会其他人的回应：“陌生人之间相遇时的正常防御 - 攻击回应。”因此 Le Guin 在人类与外星人的接触和人类个体之间的接触之间进行了类比；两者都是自我与“他人”之间的接触。
Osden is depicted as having a strong empathetic connection with the vegetated planet visited by the explorers.	Osden 被描绘为探险家访问的植被星球有着强烈的移情联系。
This is in contrast to the sharply antagonistic relationship that the other members of the team have with him.	这与队伍中其他成员与他的尖锐对立关系形成鲜明对比。
The team is depicted as a dysfunctional group, with each individual having quirks and oddities of their own.	这支队伍被描绘为一个不正常的群体，每个人都有自己的怪癖和奇怪之处。
They are regarded as being of "unsound mind" by the people of Earth and Hain, because they were willing to travel on a voyage that lasted 500 years of actual time.	他们被地球和 Hain 的人视为“心智不全”，因为他们愿意踏上一段实际时间长达 500 年的旅行。
The fear transmitted by the forest drives them further into their neuroticism.	森林传递的恐惧促使他们进一步陷入神经质。
In contrast, Osden the empath surrenders completely to the forest, and thus achieves a mental unity with the planet.	相比之下，异能者 Osden 完全屈服于森林，从而实现了与地球的精神统一。
In choosing a sort of union with the planet, Osden shows that the singular consciousness of the vegetative creature is preferable to the chaos and discord in human society.	在选择与地球的某种结合时，Osden 表明植物性生物的单一意识比人类社会的混乱和不和谐更可取。
At the conclusion of the story Tomiko describes Osden's relationship with the planet, saying "He had taken the fear into himself, and, accepting, had transcended it.	在故事的结尾，Tomiko 描述了 Osden 与这个星球的关系，他说：“他已经把恐惧带给自己，而且接受并超越了它。
He had given up his self to the alien, and unreserved surrender, that left no place for evil.	他已经把自己交给了外星人，毫无保留地投降，没有给邪恶留下任何空间。
He had learned the love of the Other and thereby had been given his whole self." Osden achieves a completely empathetic relationship with the planet, "both literally and figuratively in touch with the forest;" which also grants him temporary goodwill towards humans, as he says "Listen, I will you well" before leaving his colleagues.	他已经学会了对他人的爱，从而得到了他的整个自我。”Osden 与这个星球实现了完全的移情关系，“从字面和象征意义上都与森林建立了联系；”这也赋予了他对人类暂时的善意，正如他在离开同伴前说“听着，我要你好好的”。
Immediately after CR 557 joins US 40, the road enters Buena, Atlantic County and continues southeast into inhabited areas.	在 CR 557 与 US 40 汇合后，该公路立即进入大西洋县的 Buena，并继续向东南进入居民区。
After running through the commercial center of town, where it crosses the Southern Railroad of New Jersey's Southern Running Track line, the road comes to the southern terminus of Route 54 and the eastern end of CR 619 in a business area located on the outskirts.	在穿过城镇的商业中心后，在那里穿过新泽西州南方铁路的南方运行轨道线，道路来到位于郊区商业区的 54 号公路南端和 CR 619 东端。
At this point, it enters Buena Vista Township, and CR 557 splits form US 40 by heading to the southeast on Buena-Tuckahoe Road.	在该点，它进入 Buena Vista 镇，CR 557 从 US 40 分流，沿 Buena-Tuckahoe 路向东南方向延伸。
From this point, US 40 becomes concurrent with CR 557 Truck and enters dense woodland containing homes and businesses as well as occasional farms.	从该点开始，US 40 与 CR 557 干线并行，进入茂密的林地，住宅和企业以及三三两两的农场穿插其中。
The road reaches the residential community of Richland, where it encounters the eastern terminus of CR 540 and CR 622 and crosses Conrail Shared Assets Operations' Beesleys Point Secondary railroad line.	这条路到达 Richland 的住宅社区，在那里与 CR 540 和 CR 622 的东部终点站相遇，并穿过 Conrail Shared Assets Operations 的 Beesleys Point 二级铁路线。
Upon leaving Richland, the route crosses into Hamilton Township, where it runs through Mizpah before heading back into forested areas and a few residential sectors.	离开 Richland 后，该路线进入 Hamilton 镇，在那里穿过 Mizpah，然后回到森林地区和一些住宅区。
US 40 intersects the eastern terminus of CR 552, briefly becoming a divided highway before turning east into denser inhabited areas.	US 40 与 CR 552 的东部终点相交，短暂地成为一条分叉公路，然后转向东部进入密集居住区。
The highway intersects CR 559 Truck/CR 606, at which point it becomes concurrent with CR 559 Truck.	该公路与 CR 559 干线/CR 606 相交，在该点它与 CR 559 干线并行。
The route meets Route 50, where CR 557 Truck splits to the south.	该路线与 50 号路线相交，CR 557 干线在此向南分叉。
Route 50 joins US 40 before the road crosses the Great Egg Harbor River.	50 号路线在穿越 Great Egg Harbor 河之前与 US 40 相接。
Upon crossing the river, the road enters Mays Landing and turns north into the downtown area.	过河后，该路进入 Mays Landing，向北转入市中心。
CR 559 Truck splits southbound to follow CR 617 to the east.	CR 559 干线向南分叉，沿着 CR 617 向东延伸。
A short distance later, the road meets CR 559 and US 40 splits from Route 50 by turning east onto that route.	经过一小段距离后，该公路与 CR 559 相交，US 40 从 50 号路线分出，向东转入该路线。
This intersection marks the beginning of CR 559 Truck northbound.	这个十字路口标志着 CR 559 干线开始北行。
The road passes more development before CR 559 splits from the road by heading southeast.	在 CR 559 向东南方向分叉之前，这条路经过了更多的开发区。
US 40 heads east out of Mays Landing, where it continues through woodland and increasing residential development.	US 40 向东驶出 Mays Landing，继续穿过林地和越来越多的住宅开发区。
The road widens into four lanes as it comes to US 322 (Black Horse Pike) near the Hamilton Mall.	到达汉密尔顿购物中心附近的 US 322 (Black Horse Pike) 时，道路拓宽为四车道。
At this point, US 40 forms a concurrency with US 322, which lasts for the remainder of the route.	在该点，US 40 与 US 322 构成并行，一直持续到该路线的剩余部分。
The two routes continue to the southeast through business areas, meeting CR 575 and a ramp to the Atlantic City Expressway.	这两条路线继续向东南方向穿过商业区，与 CR 575 和通往大西洋城高速公路的匝道相遇。
CR 575 turns east to follow US 40/US 322.	CR 575 向东转弯，沿着 US 40/US 322 延伸。
Sixteen years before Oceanic 815 crashes on the island, Rousseau was a heavily pregnant member of a six-person crew aboard a French research vessel three days out of Tahiti.	在大洋航空 815 航班在岛上坠毁的 16 年前，Rousseau 是一艘从大溪地出发三天的法国研究船上六名船员中的一名临产期孕妇。
The crew picked up a radio signal emanating from the South Pacific, which was a repeating set of six numbers: 4, 8, 15, 16, 23 and 42.	船员接收到一个从南太平洋发出的无线电信号，这是一组重复的六个数字：4、8、15、16、23 和 42。
While attempting to find the source of the signal, the ship ran aground on rocks surrounding the island.	在试图寻找信号来源时，这艘船在岛屿周围的岩石上搁浅。
Before reaching the shore, Rousseau and her team found Oceanic 815 survivor Jin-Soo Kwon (Daniel Dae Kim) in the water, who had been time-travelling as a result of the time shifts which had been moving him and the flight survivors through the island's history.	在抵达岸边前，Rousseau 和她的团队在水中发现了大洋航空 815 航班的幸存者 Jin-Soo Kwon (Daniel Dae Kim)，由于时空穿越，他和航班幸存者在岛上的时间里一直在进行时间旅行。
Rousseau later tells the survivors of Oceanic 815 that two months after their arrival, that the island natives, which she called the Others, carried a disease that the rest of her crew had contracted.	Rousseau 后来告诉大洋航空 815 航班的幸存者，在他们到达两个月后，岛上的土著人也就是她口中的其他人，携带一种疾病，她的其他船员也感染了这种疾病。
She believed that this disease could not be allowed to reach the rest of the world, so she killed her colleagues, including her husband Robert.	她认为不能让这种疾病传播到世界其他地方，所以她杀死了她的同事，包括她的丈夫 Robert。
When Jin time-travels to the past, he witnesses a different version of Rousseau's past.	当 Jin 穿越到过去时，他目睹了 Rousseau 另一个版本的过往。
It is shown that the Smoke Monster, not the Others, was responsible for the "sickness" that forced her to kill her crew.	事实表明，是烟怪而不是其他人，才是迫使她杀死船员的“疾病”的原因。
Rousseau confronts the father of her child, Robert, at gunpoint and accuses him of "being changed" inside the temple.	Rousseau 用枪指着她孩子的父亲 Robert，指责他在神庙里“被变身”。
Robert denies this, explaining that the Monster is a security system for the temple, and convinces Rousseau to lower her weapon.	Robert 否认这一点，解释说烟怪是神庙的安全系统，并说服 Rousseau 放下武器。
He attempts to shoot her when she does, but is shot by Rousseau.	当她照做时，他试图向她开枪，但被 Rousseau 射杀。
Rousseau also attempts to kill Jin, having witnessed him vanish moments after her team entered the Smoke Monster's lair, believing he has the disease.	Rousseau 也试图杀死 Jin，因为她目睹了 Jin 在她的团队进入烟怪的巢穴后不久就消失了，认为他得了这种病。
Rousseau hiked to the radio tower and changed the message from the numbers to a repeating distress call. Three days later, Rousseau gave birth to a daughter, Alexandra.	Rousseau 徒步走到无线电塔，将讯息从数字更改为重复的求救信号。三天后，Rousseau 生下女儿 Alexandra。
One week after Alex's birth, Benjamin Linus (Michael Emerson) came and took Alex from Rousseau.	Alex 出生一周后，Benjamin Linus (Michael Emerson) 来到这里，从 Rousseau 手中接过 Alex。
Ben told Rousseau that the child would be safe with them, and that she was lucky for being left alive.	Ben 告诉 Rousseau，孩子和他们在一起会很安全，她能活着离开是很幸运的。
Before leaving, Ben tells her that if she hears whispers, she should run the other way.	在离开前，Ben 告诉她，如果听到耳语，就应该往另一个方向跑。
After this, Rousseau began setting traps in the jungle with the hope of catching one of the people responsible for Alex's kidnapping.	在这之后，Rousseau 开始在丛林中布设陷阱，希望能抓住对 Alex 的绑架负责的人之一。
Rousseau makes her first appearance in the season one episode "Solitary", where she captures Sayid (Naveen Andrews), one of the plane crash survivors.	Rousseau 在第一季的“孤单一人"这一集中首次路面，她俘获了飞机失事的幸存者之一 Sayid (Naveen Andrews)。
Rousseau tortures him until he eventually convinces her that he is not one of the Others.	Rousseau 折磨他，直到他最终让她相信他并非其他人之一。
She allows Sayid to return to his camp, and cautions him to keep a close eye on the other survivors.	她允许 Sayid 回到营地，并告诫他要密切留意其他幸存者的情况。
Among harem-holding species, the adult females mate only with their harem stallion, while in other species, mating is more promiscuous and the males have larger testes for sperm competition.	在拥有后宫的物种中，成年雌性只与它们的后宫公马交配，而在其他物种中，交配更加混乱，雄性有较大的睾丸用于精子竞争。
Estrus in female equines lasts 5–10 days; physical signs include frequent urination, flowing muscus, and swollen, everted labia.	雌性马的发情期持续 5–10 天；体征包括频繁排尿、粘液流动和阴唇肿胀、外翻。
In addition, estrous females will stand with their hind legs spread and raise their tails when in the presence of a male.	此外，发情的雌性在雄性面前会张开后腿站立并翘起尾巴。
Males assess the female's reproductive state with the flehmen response and the female will solicit mating by backing in.	雄性用裂唇嗅反应来评估雌性的生殖状态，雌性会通过后腿来寻求交配。
Length of gestation varies by species; it is roughly 11 to 13 months, and most mares come into estrus again within a few days after foaling, depending on conditions.	妊娠期长度因物种而异；大约是 11 到 13 个月，大多数母马在产驹后几天内再次发情，视情况而定。
Usually, only a single foal is born, which is capable of running within an hour.	通常只生一只马驹，它能在一小时内跑动。
Within a few weeks, foals attempt to graze, but may continue to nurse for 8–13 months.	在几周内，马驹会尝试吃草，但可能继续哺乳 8-13 个月。
Species in arid habitats, like Grévy's zebra, have longer nursing intervals and do not drink water until they are three months old.	干旱栖息地的物种，如细纹斑马，有更长的哺乳间隔，直到三个月大才喝水。
Among harem-holding species, foals are cared for mostly by their mothers, but if threatened by predators, the entire group works together to protect all the young.	在拥有后宫的物种中，马驹主要由它们的母亲照顾，但如果受到捕食者的威胁，整个群体会共同保护所有幼崽。
The group forms a protective front with the foals in the center and the stallion will rush at predators that come too close.	群体形成一个以马驹为中心的保护阵线，公马会冲向靠得太近的捕食者。
In territory-holding species, mothers may gather into small groups and leave their young in "kindergartens" under the guard of a territorial male while searching for water.	在拥有领地的物种中，母亲可能会聚集成小群，在寻找水源时将幼崽留在“幼儿园”，由领地的雄性看管。
Grévy's zebra stallions may look after a foal in his territory to ensure that the mother stays, though it may not be his.	细纹斑马的公马可能会照看自己领地内的马驹，以确保母亲留下来，尽管马驹可能不是它的孩子。
The earliest archaeological evidence for the domestication of the horse comes from sites in Ukraine and Kazakhstan, dating to around 4000-3500 BC.	关于马的驯化，最早的考古学证据来自乌克兰和哈萨克斯坦的遗址，可追溯到公元前 4000-3500 年左右。
By 3000 BC, the horse was completely domesticated, and by 2000 BC, a sharp increase occurred in the number of horse bones found in human settlements in northwestern Europe, indicating the spread of domesticated horses throughout the continent.	直到公元前 3000 年，马才被完全驯化，到公元前 2000 年，在欧洲西北部的人类居住区发现的马骨数量剧增，表明驯化的马遍布整个欧洲大陆。
The most recent, but most irrefutable, evidence of domestication comes from sites where horse remains were buried with chariots in graves of the Sintashta and Petrovka cultures c. 2100 BC.	最近但也是最无可辩驳的驯化证据来自于公元前 2100 年左右 Sintashta 和 Petrovka 文化的坟墓，遗址中马的遗骸与战车埋葬在一起。
Studies of variation in genetic material shows that very few wild stallions, possibly all from a single haplotype, contributed to the domestic horse, while many mares were part of early domesticated herds.	对遗传物质变异的研究表明，很少有野生公马可能全部来自单倍型，对家马有贡献，而许多母马是早期驯化畜群的一部分。
Przewalski's horse has been conclusively shown not to be an ancestor of the domestic horse, though the two can hybridize and produce fertile offspring.	普氏野马已被最终证明为不是家马的祖先，尽管两者可以杂交并产生可生育的后代。
The split between Przewalskii's horse and E. ferus caballus is estimated to have occurred 120,000– 240,000 years ago, long before domestication.	普氏野马和 E. ferus caballus 之间的分裂估计发生在 120,000– 240,000 年前，远在驯化之前。
Of the caballine equines of E. ferus, E. f. ferus, also known as the European wild horse or "tarpan", shares ancestry with the modern domestic horse.	在 E. ferus 的马科中，E. f. ferus 也被称为欧洲野马或“草原野马”，与现代家马有着共同的祖先。
In addition, tarpans that lived into modern times may have been hybridized with domestic horses.	此外，活到现代的草原野马可能已经与家马杂交。
In the early 20th century, "Nkosi Sikielel' iAfrika" was becoming popular with black Africans.	20 世纪初，“Nkosi Sikielel' iAfrika”开始在非洲黑人中流行。
In Southern Rhodesia it was originally sung in the original Xhosa language before being translated into Shona which created "Ishe Komborera Africa".	在南罗得西亚，它最初用原始的科萨语演唱，然后被翻译成创造了“上帝保佑非洲”的绍纳语。
The new Shona language hymn was first performed at the start of a meeting of the Southern Rhodesia Native Association and then again four days later at the closure of the first meeting of the Bantu National Congress, which the Southern Rhodesia Native Association later became affiliated to.	这首新的绍纳语赞美诗首次在南罗得西亚原住民协会的会议开始时演唱，四天后在班图国民大会第一次会议闭幕时再次演唱，南罗得西亚原住民协会后来成为该协会的附属机构。
By the 1948 African General Strike, it had become the main political song amongst black Africans.	到 1948 年非洲大罢工时，它已经成为非洲黑人的主要政治歌曲。
Despite that connotation, the song was accepted by black and white Rhodesians.	尽管有这样的内涵，这首歌还是被罗得西亚的黑人和白人所接受。
In 1951, at a British South African Police athletics competition, "Ishe Komborera Africa" was sung by combined black and white policemen to commemorate the first multi-racial competition in Southern Rhodesia.	1951 年，在英国南非警察田径比赛中，“上帝保佑非洲”由黑人和白人警察联合演唱，以纪念南罗得西亚的第一次多种族比赛。
Following Rhodesia's Unilateral Declaration of Independence from the British Empire, the new Rhodesian authorities started to crack down on African liberation movements.	在罗得西亚单方面宣布脱离大英帝国独立后，新的罗得西亚当局开始镇压非洲解放运动。
One of their considerations was to ban performance of "Ishe Komborera Africa" in African schools and public performance of it often made people liable for arrest by the British South African Police.	他们的考量因素之一是禁止非洲学校表演“上帝保佑非洲”，而公开表演经常导致人们被英国南非警察逮捕。
The District Commissioner for Gutu abolished the Gutu African Council after its leader opened a meeting by singing "Ishe Komborera Africa" in the District Commissioner's presence.	在古图非洲议会领导人在一次会议上当着区专员的面唱了“上帝保佑非洲”后，古图区专员废除了该议会。
The Commissioner also had the leader arrested but he was released without charge.	专员还逮捕了该领导人，但他被无罪释放。
Following the Southern Rhodesian general election, 1980, after Zimbabwe Rhodesia returned to British control as Southern Rhodesia, Robert Mugabe's Zimbabwe African National Union party won to become the first government of an independent Zimbabwe.	1980 年南罗得西亚大选后，津巴布韦罗得西亚作为南罗得西亚回归英国控制，罗伯特穆加贝领导的津巴布韦非洲民族联盟党获胜，成为独立津巴布韦的第一届政府。
After this, "Ishe Komborera Africa" was selected to replace the official "God Save the Queen" of Southern Rhodesia and the unofficial "Rise, O Voices of Rhodesia" of Rhodesia as the national anthem of an independent Zimbabwe as it was a symbol of black African struggles and solidarity against apartheid systems in South Africa and Namibia.	此后，“上帝保佑非洲”被选为独立津巴布韦的国歌，取代南罗得西亚的的官方国歌“天佑女王”和罗得西亚的非官方国歌“扬起罗得西亚的声音”，因为它是非洲黑人反对南非和纳米比亚种族隔离制度的斗争和团结的象征。
At the Zimbabwean independence ceremony, the Union Jack was lowered to "God Save the Queen" and the new flag of Zimbabwe was raised to "Ishe Komborera Africa" in Salisbury.	在津巴布韦独立仪式上，降下英国国旗时奏响“天佑女王”，在索尔兹伯里升起津巴布韦新国旗时奏响“上帝保佑非洲”。
In 1994, it was deemed that Zimbabwe should change its national anthem to avoid similarities with other countries who used the tune of "Ishe Kombererra Africa".	1994 年，人们认为津巴布韦应改变其国歌，以避免与其他使用“上帝保佑非洲”的曲调的国家相似。
Tanzania used "Mungu ibariki Afrika", Zambia used "Stand and Sing of Zambia, Proud and Free" (to the same tune) and Transkei who used "Nkosi Sikielel' 'Afrika".	坦桑尼亚使用“Mungu ibariki Afrika”，赞比亚使用“独立高歌赞比亚，自豪又自由”（曲调相同），特兰斯凯使用“Nkosi Sikielel' 'Afrika”。
It was also because Mugabe wanted to develop a new distinctly Zimbabwean identity with a unique national anthem.	这也是因为穆加贝想用一首独特的国歌来发展津巴布韦独特的新身份。
A contest was held to determine a new national anthem and "Simudzai Mureza wedu weZimbabwe" by Solomon Mutswairo was chosen.	为确定新国歌，举行了一场比赛，Solomon Mutswairo 的“Simudzai Mureza wedu weZimbabwe”被选中。
The new anthem was promoted prior to "Ishe Komborera Africa" being replaced as the official national anthem.	在“上帝保佑非洲”被官方国歌取代前，新国歌得到了宣传。
However, there was scepticism from Christians about the need for replacing "Ishe Komborera Africa" with the belief that it was part of a plan by ZANU-PF to remove references to God from Zimbabwe's official proceedings.	然而，基督徒对取代“上帝保佑非洲”的必要性持怀疑态度，认为这是 ZANU-PF 计划的一部分，目的是在津巴布韦的官方程序中免除对上帝的提及。
The change of anthem from "Ishe Komberera Africa" was later confirmed by the Parliament of Zimbabwe in 1995 by the passage of the National Anthem of Zimbabwe Act 10:15.	津巴布韦议会后来于 1995 年通过了津巴布韦国歌法 10:15，确认了“上帝保佑非洲”国歌的改变。
Sprigg was a member and sometime president of the Tri-State Agricultural Association of Allegany County, which held a fair at its grounds near Cumberland in October 1894 and 1895.	Sprigg 是 Allegany 县三州农业协会的成员，并曾担任过该协会的主席，该协会于 1894 年 10 月和 1895 年在坎伯兰附近的场地举行了展览会。
Sprigg was an active Freemason, and served as junior warden and later master of the Potomac Lodge, Number 100 of the Free and Accepted Masons, in Cumberland.	Sprigg 是一位活跃的共济会会员，曾担任坎伯兰自由石匠第 100 号 Potomac Lodge 分会的初级理事，后来担任会长。
He was also a charter member of Cumberland's McKinley Chapter 12 of the Order of the Eastern Star.	他也是坎伯兰东方之星会麦金莱第 12 分会的分会会员。
In 1905, Sprigg was elected as grand Adah of the order's Grand Maryland Chapter during the chapter's state convention in Cumberland; and that same year, he served as grand chaplain general of the McKinley Chapter.	1905 年，Sprigg 在坎伯兰的大马里兰分会的州会议上当选为该分会的大 Adah；同年，他担任麦金莱分会的大牧师。
Sprigg was a member of the Episcopal Church and attended Emmanuel Episcopal Church in Cumberland, where he served as vice president and president of the Emmanuel Episcopal Church Club.	Sprigg 是圣公会的成员，曾就读于坎伯兰的伊曼纽尔主教教堂，在那里他担任伊曼纽尔主教教堂俱乐部的副主席和主席。
As a former Confederate sympathizer during the American Civil War, Sprigg was active in Confederate memorial activities.	作为曾经的美国内战期间的同盟同情者，Sprigg 积极参与同盟纪念活动。
In 1902, he delivered a speech on behalf of Confederate veterans at Memorial Day exercises in Cumberland.	1902 年，他在坎伯兰的阵亡将士纪念日活动中代表同盟老兵发表了演讲。
Following a prolonged illness, Sprigg died at his residence on Washington Street in Cumberland on November 3, 1911.	在长期患病后，Sprigg 于 1911 年 11 月 3 日在坎伯兰华盛顿街的住所去世。
He was survived by his wife Mary Ellen and their four daughters.	他的妻子 Mary Ellen 和他们的四个女儿在世。
Sprigg's funeral service was held on November 6 at Emmanuel Episcopal Church in Cumberland.	Sprigg 的葬礼于 11 月 6 日在坎伯兰的伊曼纽尔主教教堂举行。
He was interred at Rose Hill Cemetery.	他被安葬在玫瑰山公墓。
The band's array of influences mostly include alternative indie rock bands Superchunk, Jawbox, Sunny Day Real Estate, the Flaming Lips, Fugazi, and Pavement.	乐队的一系列影响主要包括另类独立摇滚乐队 Superchunk、Jawbox、Sunny Day Real Estate、Flaming Lips、Fugazi 和 Pavement。
Additional artists that inspired the band includes Braid and The Rentals, Elvis Costello, Pixies, Tom Waits, Ben Folds, the Weakerthans, Poster Children, the Carpenters, and the Cardigans.	启发该乐队的其他艺术家包括 Braid and The Rentals、Elvis Costello、Pixies、Tom Waits, Ben Folds、Weakerthans、Poster Children、Carpenters 和 Cardigans。
AllMusic additionally credits bands such as Weezer and the Get Up Kids as influences, among others.	AllMusic 还将 Weezer 和 Get Up Kids 等乐队作为影响因素。
Pierre quoted Waits that "all anybody ever does is imitate their favorite artist—badly," adding, "we're just regurgitating all the crap we listened to in the late '80s and early '90s, the music that got us into playing music in the first place."	Pierre 引用 Waits 的话说，“所有人都在模仿他们最喜欢的艺术家 - 很糟糕，”并补充道，“我们只是在照搬 80 年代末和 90 年代初听过的所有垃圾音乐，就是这些音乐让我们一开始踏上玩音乐的道路。”
The band's musical style is widely recognizable by its unique blend of pop punk with the Moog synthesizer.	乐队的音乐风格因其流行朋克与 Moog 合成器的独特融合而得到广泛认可。
The usage of the Moog stems from Cain, who first heard the instrument employed on the Rentals' album Return of the Rentals (1995).	Moog 的使用源于 Cain，他第一次在 Rentals 乐队的专辑《Rentals 回归》(1995) 中听到使用了这种乐器。
He subsequently bought a cheap Moog at a pawn shop and wanted it to be an integral part of Motion City upon their formation.	后来他在当铺买了一个便宜的 Moog，并希望它在 Motion City 成立后成为他们不可或缺的一部分。
Johnson became known for his signature "Moogstand" in live performances, which consisted of a handstand on the instrument.	Johnson 在现场表演中以其标志性的“Moogstand”而闻名，其中包括在乐器上倒立。
The group has been widely attributed to a number of different genres, including pop rock, power pop, indie rock, emo, and pop punk.	这个团体被广泛归于一些不同的流派，包括流行摇滚、力量流行、独立摇滚、emo 和流行朋克。
Joshua Cain dismissed this latter label, remarking, "I definitely wouldn't consider us a pop-punk band.	Joshua Cain 驳斥了后一种标签，他说：“我绝对不会认为我们是一支流行朋克乐队。
Our influences are more based on '90s bands like Superchunk and early Weezer." Pierre characterized the band's music as "dirty, fast, happy, emotional rock songs."	我们的影响更多是基于 90 年代的乐队，如 Superchunk 和早期的 Weezer。”Pierre 将该乐队的音乐描述为“肮脏、快速、快乐、情绪化的摇滚歌曲。”
Nylon compared the music of their debut album, I Am the Movie, to All and the Get Up Kids.	Nylon 将他们的首张专辑《我是电影》的音乐与 All and the Get Up Kids 相比。
It has been described as having a "distinctly unified and identifiable style." Subsequent releases varied in style.	它被描述为具有“明显统一和可识别的风格。”随后发行的专辑风格各异。
My Dinosaur Life, for example, saw the band attempting to emulate their favorite post-hardcore acts, such as Archers of Loaf and Dinosaur Jr.	例如在“我的恐龙生活”中，乐队试图模仿他们最喜欢的后硬核乐队，如  Archers of Loaf 和 Dinosaur Jr。
"I Am Your Leader" is a hardcore hip-hop and electro-hop song that runs for three minutes and thirty-three seconds.	“我是你们的领袖”是一首硬核嘻哈和电音歌曲，持续 3 分 33 秒。
The production consists of a "chilled-out, humming beat punctuated on the chorus with a blunted fake-horn hook—halfway between classic-era Neptunes and Look At Me Now" according to Andrew Unterberger of Popdust.	据 Popdust 的 Andrew Unterberger 所说，这首歌的制作包括“冷静、哼唱的节拍 - 在副歌部分有减弱的假角钩，介于经典时代的‘海王星’和‘看看现在的我’之间。
It also contains repetitive, high-pitched, off-pitch synth hooks, and a booming, static bass.	它还包含重复、高亢、偏离音调的合成钩，以及轰鸣的静态低音。
"I Am Your Leader" makes use of sparse beats, frills, minimal instrumentation, and allows Minaj's rhymes to be the focal point, all of which gives the song "something of a mixtape feel" according to Joe Rivers of No Ripcord.	“我是你们的领袖”使用了稀疏的节拍、装饰、极少的乐器，让 Minaj 的押韵称为焦点，据 No Ripcord 的 Joe Rivers 说，所有这些都赋予了这首歌“混音带的感觉”。
In his review of the song, Unterberger of Popdust noted Hit-Boy's modern hip hop production, saying "Diplo and Bangladesh might have to watch their back after the up-and-comers contributions to this album." Adam Fleischer of XXL said "Nicki dishes boast-heavy verses about how she’s better than all these other bitches."	Popdust 的 Unterberger 在对这首歌的评论中指出了 Hit-Boy 的现代嘻哈制作，他说“在后起之秀对这张专辑做出贡献后，Diplo 和 Bangladesh 得小心了。”XXL 的 Adam Fleischer 说：“Nicki 用夸张的主歌讲述了她是如何超越其他所有人的 。”
"I Am Your Leader" received positive reviews from critics.	“我是你们的领袖”得到了评论家的肯定评价。
Andrew Unterberger of Popdust gave it a 4-star rating, complimenting Minaj's rapping as well as the guest verses of Cam'ron and Rick Ross.	Popdust 的 Andrew Unterberger 给出了 4 星评价，称赞 Minaj 的说唱以及 Cam'ron 和 Rick Ross 的嘉宾主歌。
However, Unterberger felt that Minaj was overshadowed by the guest verses.	然而，Unterberger 认为 Minaj 的光芒被嘉宾主歌所掩盖。
Andrew Hampp of Billboard echoed Unterberger's sentiments, saying "The nostalgia of Cam's return trumps the overall catchiness of the song." XXL Magazine stated that "Though many of the early songs [on the album] lack real substance, the records remain generally exciting - “I Am Your Leader,” alongside Rick Ross and Cam’ron, “Beez In The Trap” with 2 Chainz, and the triumphant “Champion” featuring Nas, Drake and Young Jeezy are all memorable moments".	Billboard 的 Andrew Hampp 与 Unterberger 的观点不谋而合，他说：“ Cam 的回归带来的怀旧感胜过这首歌的整体吸引力。”XXL 杂志指出“尽管[专辑中的]许多早期歌曲缺乏真正的内涵，但唱片总体上仍然很出彩 - 与 Rick Ross 和 Cam’ron 一起制作的‘我是你们的领袖’，与 2 Chainz 一起制作的‘Beez 的陷阱’，以及与 Nas、Drake 和 Young Jeezy 一起制作的‘冠军’都是令人难忘的时刻”。
Joe Rivers No Ripcord praised "I Am Your Leader" along with "Beez in the Trap" for being "thrilling" and making "good use of cameos".	Joe Rivers No Ripcord 称赞“我是你们的领袖”和“Beez 的陷阱”“扣人心弦”，并且“善用客串”。
Stephen Deusner of Paste Magazine said that "On the nursery rhyming “I Am Your Leader,” [Minaj] spits yet another dick joke like a playground jeer, slyly undermining hip-hop's traditionally male-centric braggadocio.	Paste 杂志的 Stephen Deusner 说：“在押韵的‘我是你们的领袖’中，[Minaj] 又吐出了一个像操场上的嘲笑一样的阴茎笑话，狡猾地破坏了嘻哈音乐传统上以男性为中心的吹牛。
She's not only participating in phallocentric boasting; she's also inflating the convention with a Swedish penis pump until it's just shy of bursting".	她不仅参与了以男性为中心的吹牛；她还用瑞典阴茎泵夸大了传统，直到它快要爆裂为止”。
David Jeffries of Allmusic listed it as one of the best tracks on the album.	Allmusic 的 David Jeffries 将其列为专辑中最好的曲目之一。
Matthew Cole of Slant Magazine stated that "'I Am Your Leader' and 'Beez in the Trap' [are] two excellent tracks which manage to sound both bubbly and heavy as Minaj delivers her most effortlessly entertaining shit-talk to date".	Slant 杂志的 Matthew Cole 说：“‘我是你们的领袖’和‘Beez 的陷阱’[是]两首出色的歌曲，它们让 Minaj 的声音听起来欢快而又醇厚，因为她提供了她迄今为止最信手拈来的娱乐性脏话”。
Ryan Dombal of Pitchfork called "Come On A Cone" and "I Am Your Leader" "two brilliantly off-kilter songs".	Pitchfork 的 Ryan Dombal 称“来一下”和“我是你们的领袖”是“两首出色的失衡歌曲”。
Tom Ewing of The Guardian said that "On "I Am Your Leader", [Minaj] drops a couple of octaves to gleefully pompous effect".	《卫报》的 Tom Ewing 说，“在‘我是你们的领袖’中，[Minaj] 降了几个八度，达到了欢欣的浮夸效果。”
Kevin Ritchie of NOW Magazine named it the top track of the album.	NOW 杂志的 Kevin Ritchie 称其为专辑中的顶级曲目。
Kyle Anderson of Entertainment Weekly named it one of the best tracks on the album along with "Champion".	《娱乐周刊》的 Kyle Anderson 将其与“冠军”并列为专辑中的最佳曲目之一。
The video begins with a pink mailbox with the song's title on the front written in different fonts.	视频开始时有一个粉红色的邮箱，正面用不同字体写着歌曲的标题。
The video is set in a playhouse esque brightly coloured house.	视频背景为一个类似于游乐场的色彩鲜艳的房子。
The episode was written by Richard Appel, but the idea of Bart and Lisa attending a military academy had previously been pitched, and had been floating around since 1991.	这一集的编剧为 Richard Appel，但 Bart 和 Lisa 入读军事学院的想法此前就已提出，而且自 1991 年以来一直在流传。
The idea had not yet been used as an episode plot, because the writers had not felt comfortable with taking Bart and Lisa to a strange place early in the series.	这个想法还没有被用作剧集的情节，因为编剧对在剧集初期把 Bart 和 Lisa 带到一个陌生地方感觉到不舒服。
During the scene where the Commandant is talking, there is a brief shot of Lisa blinking.	在指挥官谈话的场景中，有一个 Lisa 眨眼的短暂镜头。
As there had been an error in the final print of the episode, the shot was animated, painted and shot on May 16, 1997, the Friday before the episode's airdate.	由于该集的最后印刷出现错误，这组镜头是在 1997 年 5 月 16 日星期五，该集播出前完成动画绘制、着色和拍摄的。
The spiky blond-haired boy, who runs towards the Eliminator while screaming, is a caricature of director Mike B. Anderson.	脾气暴躁的金发男孩尖叫着奔向 Eliminator，这个男孩就是导演迈克•B•安德森的漫画形象。
The episode originally aired on May 18, 1997, as the season finale, along with a rerun of "The Springfield Files." The episode was mistakenly anticipated by some as being about Lisa launching "a legal battle" to enroll at the military school.	该集最初于 1997 年 5 月 18 日播出，作为这一季的最后一集，同时重播《春田档案》。一些人误以为在这一集中，为了上军事学校，丽萨会发起“一场法律大战”。
In its original broadcast, "The Secret War of Lisa Simpson" finished 47th in ratings for the week of May 12–18, 1997, with a Nielsen rating of 8.3, equivalent to approximately 8.1 million viewing households.	最初播出时，《丽萨辛普森的秘密战争》在 1997 年 5 月 12–18 日这一周的收视率排名第 47 位，尼尔森评分为 8.3 分，相当于约 810 万个家庭观看。
It was the second highest-rated show on the Fox network that week, following The X-Files.	这是该周福克斯网络上排名第二的节目，仅次于《X 档案》。
Warren Martyn and Adrian Wood, the authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, disliked the episode, writing that it was "very dull" and that Dafoe was not used well.	《我简直不敢相信这是更大更新的辛普森一家非官方指南》一书的作者沃伦•马丁和艾德里安•伍德不喜欢这一集，他们写到，这一集“非常乏味”，达福没有得到很好的利用。
However, Dafoe is one of show runner Josh Weinstein's favorite guest stars.	但是，达福是剧集制片人乔什•温斯坦最喜欢的客串明星之一。
Ian Johnson argued Dafoe's casting was "rare" and "somewhat offbeat".	伊恩•约翰逊辩称，达福的选角“罕见”、“有些另类”。
Journalist Raju Mudhar also wrote that in this episode, "The Simpsons have succinctly laid out our eventual future." This referred to the rise of robots (such as combat drones) in the real world and the quote from this episode:	记者 Raju Mudhar 也写到，在这一集中，“《辛普森一家》简洁地描绘了我们最终的未来。”这指的是现实世界中机器人的兴起（比如战斗无人机），以及这一集中的引述：
"The wars of the future will not be fought on the battlefield or at sea.	“未来的战争不会在战场或海上进行。
They will be fought in space, or possibly on top of a very tall mountain.	它们会在太空，或者可能在很高的山顶进行。
In either case, most of the actual fighting will be done by small robots.	无论哪种情况，大部分的实际战斗都将由小型机器人完成。
And as you go forth today remember always your duty is clear: To build and maintain those robots."	当您今天勇往直前时，务必记住，您的职责很明确：制造和维护这些机器人。”
The episode was one of four in 1999 released on a VHS (Re-released on DVD in 2005) called Bart Wars focused on crosses between The Simpsons and Star Wars.	这一集是 1999 年以 VHS 形式发行（2005 年以 DVD 形式重新发行）的四集之一，名为《战争巴特》，内容讲述了《辛普森一家》与《星球大战》之间的融合。
However, one critic wrote that with this episode and "Marge Be Not Proud" and "Dog of Death," both of which are also on the DVD, the "Star Wars connection" is "tangential at best."	但是，一位影评人写到，和这一集以及这盘 DVD 上的《玛吉不骄傲》和《死亡之犬》一样，《星球大战 连接》“充其量是牵强附会”
By end of the 16th century Cassel had become a border town between France and the Spanish Netherlands.	到 16 世纪末，卡塞勒已经成为法国与西属尼德兰之间的边境城镇。
The French repeatedly fought with Spain and later the independent Dutch Republic for control of the town; in March 1645, Gaston, Duke of Orléans seized it but lost it again to the Spanish a few months later.	法国多次与西班牙交战，随后又与独立的荷兰共和国交战，争夺该镇的控制权；1645 年 3 月，奥尔良公爵加斯东夺取该镇，但几个月后再次被西班牙夺走。
In 1658 Turenne expelled two Irish regiments in the pay of the Spanish who were garrisoning Cassel.	1658 年，杜伦尼驱逐了两个受雇于西班牙驻守卡塞勒的军团。
The French captured the town in July 1676 under Louis de Crevant, Duke of Humières and strengthened the castle.	1676 年 7 月，在休米埃尔公爵路易斯•德•克雷万特的率领下攻占该镇并加固了城堡。
The following year, a third Battle of Cassel took place just west of the town on 11 April 1677 when a French army under François-Henri de Montmorency, duc de Luxembourg and Philippe I of Orléans defeated Dutch forces commanded by William III of Orange.	次年，即 1677 年 4 月 11 日，卡塞勒的第三场战役发生在该镇以西，由卢森堡公爵弗朗索瓦•亨利•德•蒙莫朗西和奥尔良公爵飞利浦一世率领的法国军队击败了由奥兰治的威廉三世指挥的荷兰军队。
The battle took place after King Louis XIV of France besieged the Dutch-held town of Saint-Omer during the Franco–Dutch War.	这场战役发生在法荷战争期间法国国王路易十四围攻荷兰控制的圣奥梅尔镇之后。
William sent an army to relieve Saint-Omer but was defeated at the village of Zuytpeene just to the west of Cassel, losing 7-8,000 men killed or wounded and another 4,000 taken prisoner.	威廉派出一支部队解救圣奥梅尔，但在卡塞勒以西的聚伊佩讷村被击败，伤亡 7-8,000 人，另有 4,000 人被俘。
Saint-Omer fell a week later.	一个星期后圣奥梅尔沦陷。
Cassel was annexed to France the following year under the terms of the Treaty of Nijmegen, which ended the war.	次年，根据奈梅亨条约条款，卡塞勒被法国吞并，战争结束。
The annexation led to the town's defences being dismantled; it was considered indefensible, as it was within easy firing range of the nearby Mont des Récollets, and it would have cost far too much to fortify both hills.	这次吞并导致该镇的防御工事遭到拆除；由于该镇在附近的 Mont des Récollets 的射程范围内，而且对两座山构筑防御工事的成本太高，所以该镇被认为无法防守。
In addition, the revised frontier following the treaty was now a significant distance from Cassel and without the proximity of the border, the town was no longer seen as having much strategic significance.	此外，根据该条约，修改后的边境现在距离卡塞勒很远而且不靠近边界，因此该镇不再被认为具有太大战略意义。
During the French Revolutionary Wars, Cassel is said to have been the hill up which the Grand Old Duke of York marched his 10,000 men before he "marched them down again".	在法国大革命战争期间，据说卡约克大公爵在“再次率领军队出征”之前，卡塞勒的山丘是他的 10,000 名士兵行军的地方。
While it is true that Prince Frederick, Duke of York and Albany, did command an army in the Flanders Campaign of 1793 and was probably in the vicinity, the link with Cassel is considered dubious as the eponymous nursery rhyme appears to have originated well before the Revolutionary Wars.	虽然约克和奥尔巴尼公爵弗雷德里克王子确实在 1793 年的弗兰德里战役中指挥了一支军队，并且很有可能就在附近，但与卡塞勒的关系仍然可疑，因为在革命战争爆发之前，同名儿歌似乎早已出现。
The population of Cassel grew to about 4,200 people by the mid-19th century.	到 19 世纪中叶，卡塞勒的人口增长到约 4,200 人。
Benjamin Disraeli, later to become Prime Minister of the United Kingdom, stayed there for a month in September–October 1845 and wrote in a letter to his sister Sarah that he considered it "an extremely savage place; few of the inhabitants, & none of the humbler classes, talk French, there is no library, bookseller's shop, nor newspaper of any sort ...	1845 年 9 月至10 月，后来成为英国首相的本杰明•迪斯雷利在该处住了一个月，他在给姐姐萨拉的信中写道，他认为那里是“极其野蛮的地方；很少有居民而且没有下层阶级的人讲法语，没有图书馆、书店，也没有任何形式的报纸……
It is quite French Flanders, their provisions come from Holland, the Hotel de Ville was built by the Spaniards, the carillons are perpetually sounding, & religion is supreme."	这里简直就是法国的弗兰德斯，他们的粮食来自荷兰，市政厅由西班牙人建造，钟琴永远在响，宗教至高无上。”
In 1848, Cassel gained a railway connection when the Lille-Dunkirk line was built.	1848 年，在里尔-敦刻尔克铁路线建成后，卡塞勒连通了一条铁路。
The station is, however, at the foot of the hill at Oxelaëre some 3 kilometres (1.9 mi) from the centre of Cassel.	但是，车站位于山脚下的奥克塞拉埃尔，距离卡塞勒中心约 3 公里（1.9 英里）。
To link the two places, an electric tramway was built under the auspices of the Compagnie des Tramways de Cassel, which operated between 1900 and 1934. It was replaced by a bus link which still operates today.	为了连通两个地方，在卡塞勒有轨电车公司的帮助下建成了一条电车道，该电车道的运营时间为 1900 年至 1934 年。后来被一条公交线路取代，而该线路至今仍在运营。
Cassel served as the headquarters of Marshal Ferdinand Foch during the early part of the First World War, between October 1914 and May 1915.	在第一次世界大战初期，即 1914 年 10 月至 1915 年 5 月，费迪南•福煦元帅的总部就在卡塞勒。
Kruščica belonged to a group of concentration camps in the Independent State of Croatia where mass executions of inmates were performed.	克鲁什卡曾是克罗地亚独立国集中营的一员，那里曾对囚犯进行了大规模处决。
During first two months of the functioning of the camp, local residents killed three thousand people within it.	在集中营运作的头两个月里，当地居民在营地内屠杀了三千人。
At the end of July 1941, the Ustaše, under the command of Boško Cvjenćek, captured and transported a group of 74 Serbs from Pale to the Kruščica camp with the false explanation that they were going to work and earn money.	1941 年 7 月末，在博斯科·茨维延切克的指挥下，乌斯塔沙组织从帕莱俘虏了 74 名塞尔维亚人并将他们运送到克鲁什卡集中营，谎称他们要去工作和赚钱。
All of them were killed.	这些人全部遭到杀害。
All of them were cruelly massacred by Ustaše during the night on 5 August 1941.	他们全部于 1941 年 8 月 5 日夜里遭到乌斯塔沙组织的残忍屠杀。 
According to a 2001 work published by Hrvatski informativni centar and authored by Topalović, imprisoned Serbs were actually political prisoners who attacked the Ustaše, attempting to kill them, refusing all calls for surrender, so the Ustaše were forced to kill them.	根据由 Hrvatski informativni centar 发表并由托帕洛维奇撰写于 2001 年的文章所述，被监禁的塞尔维亚人实际上是袭击乌斯塔沙组织的政治犯，他们曾试图杀害组织成员并拒绝所有投降要求，因此乌斯塔沙组织被迫将他们杀害。
Topalović also emphasized that the Ustaše commander of the camp, Josip Tehler was killed attempting to suppress the rebellion.	托帕洛维奇还强调，集中营的乌斯塔沙组织指挥官约瑟普·特勒在镇压叛乱时遭杀害。 
The first transport of inmates arrived at Kruščica between 28 August and 1 September 1941, when around 1,000 people, mostly Jewish women and children, were transported from concentration camps on Pag and in Gospić.	第一批囚犯于 1941 年 8 月 28 日至 9 月 1 日抵达克鲁什卡，当时约有 1,000 人从帕格和戈斯皮奇的集中营被运送过来，其中大部分是犹太妇女和儿童。
During the night of 3 September 1941, members of the Ustaše broke into the houses of Jewish residents of Sarajevo, captured the inhabitants, and transported them to Kruščica.	1941 年 9 月 3 日夜间，乌斯塔沙组织成员闯入萨拉热窝犹太居民的民房，俘虏了当地居民，并将他们运送到克鲁什卡。
The next day, the Ustaše plundered the homes of imprisoned Jewish victims.	次日，乌斯塔沙组织掠夺了被囚禁的犹太受害者家中的财物。 
At the beginning of September 1941, there were approximately 3,000 people interned in Kruščica camp, including 300 Serb women and children, with the remainder being Jews.	1941 年 9 月初，大约有 3,000 人被关押在克鲁什卡集中营，其中包括 300 名塞尔维亚妇女和儿童，其余为犹太人。
All were housed in two buildings, 80 people to each room, without basic living conditions.	人们全部被关押在两栋建筑内，每个房间 80 人，不具备基本的生活条件。
The Jewish community from Zagreb sent carloads of packages to inmates in Kruščica.	萨格勒布的犹太社区向克鲁什卡的囚犯寄去了一车车的包裹。
Local Ustaše burned these before the eyes of hungry children and women, who were unable to retrieve anything.	当地的乌斯塔沙组织在饥饿的儿童和妇女眼前烧毁了这些物资，他们得不到任何物品。
It was difficult to accommodate and feed the inmates of this camp, so the Ustaše decided to resolve this difficulty by torturing inmates with forced labour and hunger and by killing them.	这个集中营已难以容纳并提供食物给这些囚犯，因此乌斯塔沙组织决定通过强迫劳动和饥饿折磨囚犯并将他们杀害以解决这一困难。
The camp was destroyed after the Second World War.	该营地在第二次世界大战后被摧毁。
One building was restored, and a memorial area, occupying around 2,000 m² was established, consisting of the restored building (containing a museum), a monument created by Fadil Bilić, incorporating a text from Ivan Goran Kovačić's poem Jama, and several memorial plaques commemorating communities interned in the camp (including those from Zenica and Pale).	人们修复了一栋建筑，并建立了一个占地约 2,000 平方米的纪念区，其中包括经修复的建筑（包含博物馆）、由法迪尔·比利奇创建的纪念碑（其中包含伊万·戈兰·科瓦契奇诗歌《Jama》中的文字），以及几块用以纪念被囚禁在集中营的社区（包括来自泽尼察和帕莱的社区）的纪念碑。 
This memorial area became known as the 'Black House' (Crna kuća).	此纪念区被称为“黑屋”(Crna kuća)。
During the War in Bosnia & Herzegovina, the museum's contents were removed.	在波黑战争期间，博物馆中的藏品被搬离。
In 2014, the site was declared a National Monument of Bosnia and Herzegovina.	2014 年，该遗址被宣布成为波斯尼亚和黑塞哥维那国家纪念地。
Originally, Silberling envisioned employing novice actors in the lead roles, but acknowledged performers with the level of recognition of Cage and Meg Ryan would attract support for the production.	最初，塞伯宁本想聘请新手演员担任主角，但他承认聘请凯奇和梅格·瑞恩这样水平的表演者会帮助制片公司吸引更多支持。
After having completed action-oriented roles in The Rock, Con Air and Face/Off, Cage was eager to star in a more profound film when he received Stevens' screenplay.	在完成了《勇闯夺命岛》、《空中监狱》 和《变脸》中以动作戏为主的角色之后，凯奇渴望出演一部更加深刻的电影，此时他收到了史蒂文斯的剧本。
He agreed to accept the role, noting the spiritual issues in the story and the impact it had on him, but not elaborating on his own beliefs.	他同意接受这个角色，并特别提到故事中的宗教问题及其对自身的影响，但他并没有详细讲述自身的信仰。
Ryan also agreed to accept the role of Maggie, remarking "I don't know if angels are floating around, but the idea that there's a guiding force is something I embrace".	瑞恩也同意接受梅姬的角色，并表示“我不知道是否有天使在四处飘荡，但我喜欢有种力量在引导着人们的想法”。
Andre Braugher, an actor on the television series Homicide: Life on the Street, was able to work on the project while Homicide was on break before the beginning of its sixth season.	电视连续剧《情理法的春天》中的演员安德鲁·布劳尔能够在《情理法的春天》第六季开拍前的间歇参演这部电影。
His new co-star Dennis Franz was also starring on a police procedural series, NYPD Blue.	他的新搭档丹尼斯·弗兰茨也出演了一部警察办案连续剧《纽约重案组》。
Cage said that with this role, he had to switch from his regular methods of constant movements to trying to be "effective" while often still.	凯奇表示在扮演这个角色时，他必须从常规的持续运动的表演方式转变为尝试在常常静止的状态下给人留下印象。
He remarked on having to adopt the mindset of a child, and act impressed by commonplace experiences such as feeling rain or sunlight.	他表示必须采用孩童的心态，要在感受雨水或阳光这样的普通事物时表演出惊喜感。
A rig for the camera was built for the scene where the angelic Seth sees Maggie look in the mirror, and the crew shot the mirror without the actors for one take so Cage's reflection could be edited out from the take with both.	剧组为天使赛斯看着梅姬照镜子的场景构建了一套摄影机装置，剧组人员在没有演员的情况下拍摄了一组镜子镜头，以使凯奇的倒影可以从二人的镜头中剪辑掉。
Other special effects involved a "going to the light" afterlife depiction, in which Seth walks with a little girl, played by Sarah Dampf, who has died.	其他特效还涉及了描绘来世的场景，赛斯与一位由莎拉·丹普夫饰演的的已经离世的小女孩一同“走向光明”。
After cinematographer John Seale shot the scene in a hallway, Sony Pictures Imageworks' John Nelson increased the brightness to end in white, adding splinters of light.	电影摄影师约翰·希尔在走廊拍摄了这个场景后，Sony Pictures Imageworks 的约翰·尼尔森提高了画面亮度，最终以白色结尾，增加了碎片光效。
Some of the film was shot at Lake Tahoe's surrounding areas and Kern County.	影片的部分场景是在太浩湖周边地区和克恩县拍摄的。
The "falling" scene was partially shot at the Los Angeles Bank of America, while Cage was placed on a moving rig over a bluescreen.	“坠落”场景有一部分是在洛杉矶的美国银行拍摄的，凯奇则被放置在蓝幕上方的移动装置上完成拍摄。
Ryan's death scene was filmed on Old Mill Road in Crestline, California.	瑞恩之死的场景是在加州克雷斯特林的老磨坊路拍摄的。
The library scenes were shot at San Francisco Public Library.	图书馆的场景是在旧金山公共图书馆拍摄的。
For angel scenes shot at Malibu Beach, though the characters are not physical beings, it was decided that the angels would have briefly visible footprints to avoid the perception that the sand was too hard to leave imprints.	对于在马里布海滩拍摄的天使场景，虽然角色并非肉身，但摄制组决定天使会留下短暂可见的脚印，以避免沙子太硬而不留足迹的感觉。
Thus, Nelson erased the footprints soon after they are first seen.	因此，尼尔森在脚印出现不久后就将它们擦掉了。
The score was composed by Gabriel Yared, often using three notes to convey ascent.	配乐由盖布瑞·雅德创作，他常使用三个音符表达上升。
Pop synthesizers, pianos and strings were used for the three-note compositions where the angels observe Los Angeles, where the child in the prologue dies and where Seth experiences Maggie's despair, respectively.	流行合成器、钢琴和弦乐分别被用于天使注视洛杉矶、序幕中的孩子离世和塞斯经历梅姬的绝望时的三音符作品。
Yared also employed violins and celli, sometimes using one to accompany a line of voice-over dialogue and another for follow-up dialogue.	雅德还使用了小提琴和大提琴，有时使用一种来作为一段画外音对话的伴奏，使用另一种作为后续对话的伴奏。
With the entry of Japan into the war, Fairley flew to Java in January 1942.	随着日本参战，费尔利于 1942 年 1 月飞往爪哇。
Fairley was well aware that Java produced 90% of the world's supply of quinine and that the implications would be serious if Java was lost.	费尔利非常清楚，爪哇的奎宁产量达全球供应量的 90%，如果失去爪哇，后果将十分严重。
He arranged for the purchase of all available stocks of quinine, some 120 long tons (120 t).	他安排购买了所有可用的奎宁库存，大约 120 长吨 (120 t)。
Fairley was informed that the quinine had been loaded on board two ships.	费尔利被告知奎宁已被装运到两艘船上。
One was never seen again.	一艘再未露面。
The other, the SS Klang, reached Fremantle in March.	另一艘 SS Klang 于 3 月抵达弗里曼特尔。
Although 20 long tons (20 t) of quinine was loaded on board, it was apparently unloaded when the ship stopped at Tjilatjap, possibly due to fifth columnists.	尽管船上载有 20 长吨 (20 t) 奎宁，但显然当船停靠在芝拉札时有人将奎宁卸下了船，这可能是由第五纵队所为。
Thus, none of the shipment reached Australia.	因此，所有货物均未抵达澳大利亚。
Fairley himself departed Java with the I Corps staff on the transport Orcades on 21 February 1942 shortly before Java fell.	1942 年 2 月 21 日，在爪哇沦陷前不久，费尔利本人和第一军参谋部乘坐奥尔凯得斯运输船离开爪哇。
In General Sir Thomas Blamey's reorganisation of the Australian Army in April 1942, Fairley was appointed director of medicine at Allied Land Forces Headquarters (LHQ) in Melbourne.	1942 年 4 月，在托马斯·布莱梅爵士对澳大利亚陆军的重组中，费尔利在墨尔本被任命为同盟陆军总部 (LHQ) 的医疗指挥官。
Fairley was soon facing a series of medical emergencies caused by the Kokoda Track campaign.	费尔利很快就面临了由科科达小径战役引起的一系列医疗紧急情况。
An epidemic of bacillary dysentery was headed off by Fairley's decision to rush all available supplies of sulphaguanadine to New Guinea.	费尔利决定将所有可用的磺胺胍物资火速运往新几内亚，从而阻止了细菌性痢疾的流行。
On Fairley's advice every man who complained of diarrhoea was given the drug and the epidemic was brought under control in ten days.	在费尔利的建议下，每个饱受腹泻困扰的人都得到了这种药物，流行病在十天内便得到了控制。
But Fairley's main concern was malaria.	但费尔利主要关心的是疟疾。
Despite the experience with malaria in the Middle East, most of the troops had a poor understanding of anti-malaria precautions and few medical officers had encountered the disease.	尽管在中东有过应对疟疾的经验，但大多数部队对于对抗疟疾的预防措施都知之甚少，很少有军医遇到过这种疾病。
In combination with critical shortages of drugs and anti-malarial supplies such as netting, insecticides and repellents, the result was a medical disaster.	再加上药物以及诸如蚊帐、杀虫剂和驱虫剂等抗疟疾物资严重短缺，结果造成了一场医疗灾难。
In the 13-week period from 31 October 1942 to 1 January 1943, the Army reported 4,137 battle casualties, but 14,011 casualties from tropical diseases, of which 12,240 were from malaria.	在 1942 年 10 月 31 日至 1943 年 1 月 1 日为期 13 周的时间内，军队报告了 4,137 例因战斗造成的人员伤亡，但有 14,011 人死于热带病，其中 12,240 人死于疟疾。
The government grimly contemplated disbanding divisions to replace malaria casualties.	政府严肃地考虑解散陆军师以免于疟疾伤亡。
"Our worst enemy in New Guinea," General Blamey declared, "is not the Nip—it’s the bite."	“我们在新几内亚最大的敌人，”布莱米将军宣称，“不是交战——而是咬伤。”
This caused Blamey to despatch a medical mission headed by Fairley to the United States and the United Kingdom in September 1942 to present the Army's case for a more adequate and equitable share of anti-malarial supplies.	这导致布莱米于 1942 年 9 月派遣了由费尔利带头的医学传教队前往美国和英国，为其展示为陆军提供更加充足和公平的抗疟疾物资份额的案例。
Illinois farmer David Johnson built his 31-foot-tall (9.4 m) goat tower in Shelby County, near Findlay, after seeing an article on Fairview in the magazine Decanter.	伊利诺斯州农场主大卫-约翰森在看过 Decanter 杂志上一篇关于 Fairview 的文章后，在谢尔比县芬德雷附近建了一座 31 英尺（9.4 米）高的山羊塔。
Another goat tower was built in the outdoor-seating area of Silky O'Sullivan's bar in Memphis, Tennessee on Beale Street.	田纳西州孟菲斯 Beale 街上 Silky O'Sullivan's 酒吧的室外座位区也建了一座山羊塔。
In a Waunakee, Wisconsin goat petting zoo, a goat tower was built by the Endres family.	在威斯康星州 Waunakee 的山羊抚摸区，恩德雷斯家族建了一座山羊塔。
The tower was designed in a Bavarian style to match other buildings of the area.	山羊塔设计为巴伐利亚风格，与周围的建筑风格相符合。
The owners claim it is the fifth goat tower ever constructed after the ones in Fairview, the “Tower of Baaa” in Findlay, Memphis, and Ekeby.	业主表示这是继费尔维尤、芬德雷的“Baaa 塔”、孟菲斯和埃克比后的第五座山羊塔。
Life at the Bottom has received mostly positive reviews.	Life at the Bottom 获得的几乎都是正面的评论。
Gregory Schneider of the Topeka Capital-Journal called the collection "the best exploration of the problems of poverty ever written." America magazine writer, Peter Heinegg, considered the essays to be a "barrage of breathtakingly horrible true-life...stories", but he said that Dalrymple puts too much of his personal "snorting indignation" into the text without letting the reader draw their own conclusions.	Topeka Capital-Journal 的 Gregory Schneider 将此系列称为“有史以来贫困问题的最佳探索。”美国杂志记者彼得-海内格认为这些随笔是“一连串非常可怕的真实生活...故事”，但他认为达尔林普尔在文字中倾注了太多个人的“义愤”，而不是让读者去得出自己的结论。
He ended by saying, "Dalrymple's case sounds like a paranoid tirade or perverse tribute, but it is at least partially redeemed by the barrage of breathtakingly horrible true-life (one assumes) stories that this very angry doctor tells...to bolster it." John Clark of Liberty magazine called it "so compelling...that I read it cover to cover in a day's time—and later reread it twice."	他最后说，“达尔林普尔的情况听起来像偏执的长篇大论或有悖常理的颂词，但这位非常愤怒的医生所讲述的一连串非常可怕的真实故事起了作用，至少一部分掩盖了这点。”Liberty 杂志的约翰-科拉克称之为“非常扣人心弦...我一天就看完了—后来又看了两遍。”
Thomas Sowell, a pundit and social critic, described it as "brilliant and insightful" in Capitalism magazine and "an insightful and devastating eyewitness account of the white underclass in Britain" in the Jewish World Review.	学者兼社会批评家汤姆斯-苏维尔在《资本主义》(Capitalism) 杂志中将其描述为“技巧高超，见解深刻”，在《犹太世界评论》(Jewish World Review) 中将其描述为“英国白人下层社会见解深刻、令人震惊的现场报道”。
Overall, Sowell said that the collection was able to explain that "One of the most telling examples of the social destructiveness of the left's welfare-state vision can be found among the white slum dwellers in Britain." Atlanta Journal-Constitution writer, Theresa K. Weaver, called the collection "saddening, infuriating, and ultimately not terribly empowering", stating that she wishes Dalrymple "might at least offer a few ideas on turning everything around." Arthur Foulkes of the Carolina Journal described it as a "fine book" that "offers much to friends of liberty everywhere." Roger Donway of The Atlas Society considered it to be "one of the most instructive books that I have read in many years".	总而言之，苏维尔认为，这个系列能够说明“在英国白人贫民区中能找到福利国家愿景对社会破坏性的最生动示例。”Atlanta Journal-Constitution 记者特雷莎-K-韦弗称该系列“令人悲伤、愤怒并最终给人以可怕的力量”，表示她希望达尔林普尔“至少提供一些能让一切好转的方法。”Carolina Journal 的 阿瑟-福克斯将其描述为一本“好书”，“给各地追求自由的朋友很多启发。”The Atlas Society 的罗杰-康维认为它是“我多年来读过的最有启发性的书籍之一”。
Stephen Goode, writing for Insight on the News, said that the collection argued its "position brilliantly and with impressive passion".	史蒂芬-古德在为 Insight on the News 撰文时说，该系列坚持其“立场，观点鲜明，激情洋溢”。
The National Observer wrote that it "has much value", if it is taken as an "antidote to fashionable loose thinking".	国家观察员认为，如果将它作为“流行的宽松思想的解药”，将“非常有价值”。
Phips arrived back in Boston in the summer of 1688 and was welcomed back as a hero.	菲普斯在 1688 年夏天回到了波士顿，受到英雄般的欢迎。
His wife seemed very happy to see him.	妻子看到他似乎非常高兴。
He was celebrated in sermons and at the Harvard college commencement he was compared to Jason fetching the Golden Fleece.	他参加了布道会和哈佛大学开学典礼，人们将他比作获取金羊毛的杰森。
Andros and Randolph were not so happy to see him and it seems the feeling was mutual.	安道尔和兰道夫见到他不是很高兴，菲普斯似乎感觉也一样。
Almost all of New England was unified in their opposition to Andros and Randolph.	几乎所有新英格兰人都一致反感安道尔和兰道夫。
Phips, despite having been captain of Randolph's gunship in 1683-4, does not seem to have carried an association with Randolph in the minds of the people of Massachusetts Bay.	菲普斯尽管在 1683-4 年曾担任兰道夫炮艇的舰长，但在马萨诸塞湾人们的心中，他似乎与兰道夫没有什么关联。
Andros swore Phips into his new post in early July, but his council refused Phips' demand that the previously named sheriffs be dismissed.	安道尔郑重承诺在 7 月初为菲普斯安排新职位，但议会拒绝了菲普斯要求解雇以前任命的治安官的提议。
If Phips had simply wanted a share in the spoils of the Dominion, he might have stuck around and kept his head down.	如果菲普斯只想在自治领的权力中占据一席之地，他可能会在一旁等着，保持低调。
Instead he stayed home in Boston only six weeks before shipping back to London to join with Increase Mather in opposing the Dominion and seeking to restore the original charter.	但他在波士顿的家中只待了六个星期，然后坐船去了伦敦，加入了因克瑞斯-马瑟，反对自治领，寻求恢复原始宪章。
This seems to be the first mention of Phips in Increase Mather's diary or correspondence.	这好像是因克瑞斯-马瑟的日记或通信中第一次提到菲普斯。
Motivated by a shared dislike of Andros, Phips and Increase Mather worked together to bring about his downfall.	菲普斯和因克瑞斯-马瑟都不喜欢安道尔，于是他们俩一起促成了他的下台。
After the Glorious Revolution in late 1688 replaced the Catholic James with the Protestant monarchs William III and Mary II, Phips and Mather petitioned the new monarchs for restoration of the Massachusetts charter, and successfully convinced the Lords of Trade to delay the transmission of formal instructions about the change of power to Andros.	在 1688 年末“光荣革命”后，天主教的詹姆斯换成了新教君主威廉三世和玛丽二世，菲普斯和马瑟请求新君主恢复马萨诸塞宪章，并且成功地说服了议院延迟发布关于安道尔权力变更的正式指令。
Phips returned to Boston in May 1689, carrying proclamations from the king and queen, and found Andros and Randolph had already been arrested in a revolt in Boston.	菲普斯在 1689 年 5 月回到波士顿，带着国王和王后的公告，但发现安道尔和兰道夫已经在波士顿的叛乱中被捕入狱。
Phips served for a time as an overseer guarding Andros and Randolph in the prison at Castle Island.	菲普斯一度在城堡岛的监狱负责监管安道尔和兰道夫。
If Paris were worth a mass to Henry IV, Boston was worth a conversion, in the Puritan sense, to William Phips.	对于清教徒而言，如果巴黎可以推举亨利五世，波士顿也能推举威廉-菲普斯。
The turmoil in England and William's accession to the throne had prompted New France's Governor to take advantage of the political turmoil in New England, launching a series of Indian raids across the northern frontier in 1689 and early 1690.	英格兰的骚乱和威廉登上王座刺激新法兰西总督利用新英格兰的骚动情绪，在 1689 年和 1690 年初在北部边境发动一系列对印第安的劫掠。
When a frontier town in Maine was overrun in early March 1690, the French were perceived as instigators and the provisional government of Massachusetts, began casting about for a major general to lead an expedition against the French in Acadia.	当缅因州的边境小镇在 1690 年 3 月初被占领时，法国人被视为唆使者，马萨诸塞临时政府开始寻找将军带人远征阿卡迪亚的法国人。
Phips had not demonstrated military interests as a young man.	作为一名年轻人，菲普斯尚未表现出军事上的兴趣。
During King Philip's War, when many took up arms, Phips built ships and cut lumber.	在菲利浦国王战争期间，很多人拿起武器，菲普斯却在造船和伐木。
John Knepp's journal testifies to Phips constitutional disinterest in military discipline.	约翰-尼谱的日记证实，菲普斯天生对军事没有兴趣。
Alongside her acting work, Kapoor has established a career as a designer.	在生活工作中，卡浦尔确定当一名设计师。
During her five-year association with the retail chain Globus, Kapoor became the first Indian actress to launch her own line of clothing for women; she described the collaboration as being "special" and "reflective of my personal sense of style".	在与零售连锁店 Globus 合作的五年期间，卡浦尔成为了第一个印度女明星，推出了自己第一个女性服饰系列；她将该合作描述为“特殊”和“反映我个人的风格”。
Her collection made its debut several months later in stores across India, and was well received.	她的产品系列几个月后在印度的商店上架，广受好评。
Following the end of her contract with Globus, she expressed a desire to work with a design house to release her clothing line internationally, but later explained that those plans were on hold.	与 Globus 的合同结束后，她表达了与设计室合作在国际上推出服饰系列的愿望，但后来解释说这些计划搁浅了。
In August 2018, Kapoor collaborated with Lakmé Cosmetics to launch her own line of cosmetics.	2018 年 8 月，卡浦尔与 Lakmé Cosmetics 合作推出了自己的化妆品系列。
In 2009, Kapoor worked with nutritionist Rujuta Diwekar on Don't Lose Your Mind, Lose Your Weight, a book which focused on the principles of healthy eating habits.	2009 年，卡浦尔与营养学家迪维卡合作出版了《Don't Lose Your Mind, Lose Your Weight》一书，主要介绍了健康饮食习惯的原理。
Published by Random House Publications, the book was well received by critics, and sold 10,000 copies within its first twenty days.	该书由 Random House Publications 出版，受到评论家的好评，短短二十天就卖出 10,000 本。
A follow-up titled, Women and The Weight Loss Tamasha, was released two years later.	两年后，姊妹篇《Women and The Weight Loss Tamasha》出版。
It addressed the weight loss concerns and eating habits of women in various parts of their life, and featured Kapoor in a voice-over for the audiobook.	其中说明了女性的减肥问题以及在生活各方面的饮食习惯，并且配有 Kapoor 的音频旁白。
In February 2013, Kapoor released her autobiographical memoir: The Style Diary of a Bollywood Diva.	2013 年 2 月，卡浦尔发表了自传体回忆录：The Style Diary of a Bollywood Diva。
Co-written alongside Rochelle Pinto, it became the first book to be launched under the Shobhaa De imprint of Penguin Books—a set of series that included celebrity memoirs, guides and biographies.	此书是与罗谢尔-平托合著的，成为了 Shobhaa De 印刷的 Penguin 丛书中的第一本书，该系列丛书包括名人回忆录、指南和人物传记。
In a review published by Mint, Shefalee Vasudev criticised the writing style as "too-breezy" but further stated that it is "a well-produced book, reproducing chirpy little post-it notes and diet charts, punctuated with Bebo's stunning pictures from her private albums to fashion magazine covers." Later that year, she collaborated with Diwekar for the third time on The Indian Food Wisdom and The Art of Eating Right, a documentary film about nutrition.	在 Mint 发表的评论中，沙法利-瓦苏杰夫评述其文风“太过活泼”，但进一步说它是“一本精心编写的书，再现了活泼的小便利贴记事和饮食图表，其间点缀以 Bebo 从私人相册到时尚杂志封面的精美图片。”当年晚些时候，她与迪维卡第三次合作出版了一部关于营养的记录片《The Indian Food Wisdom and The Art of Eating Right》。
During her years in the film industry, Kapoor has been actively involved in promoting children's education and the safety of women.	在她从事电影业的这些年，卡浦尔一直积极参与宣传儿童教育和女性安全。
In June 2010, she took part in the international campaign 1GOAL Education for All, and was appointed ambassador for the Shakti Campaign—a project launched by NDTV to combat violence against women—in commemoration of the 100th anniversary of International Women's Day.	2010 年 6 月，她参加了国际宣传活动 1GOAL Education for All，被任命为 Shakti 活动—NDTV 发起的女性反暴力项目，国际妇女日 100 周年纪念活动—的大使。
Two years later, Kapoor launched Channel V's anti-rape mobile app 'VithU'; she stated that with an increasing amount of violence against women in India, "[i]t [was] important for actors to stand up for issues because they can reach out to a lot of people."	两年后，卡浦尔推出了 Channel V 的反强奸手机 app 'VithU'；她表示，印度针对女性的暴力日益增多“演员的支持很重要，因为他们能够接触大量的人们。”
In January 2014, Kapoor began working with UNICEF to advocate the education of girls and increase quality based education in India.	2014 年 1 月，卡浦尔开始与 UNICEF 合作宣传女孩教育，为提高印度的教育质量而努力。
Speaking of her association, she expressed hope in creating places "where children feel safe and secure, and where interactive and creative tools are used to ensure that children are happy and learning." During the first year, Kapoor visited schools in the states of Rajasthan and Maharashtra where she interacted with students and participated in fundraising events hosted by the Kasturba Gandhi Balika Vidyalaya organisation in the Jalna district.	谈及她的协会，她表示希望创建“儿童感觉安全，可以使用互动和创意工具来确保儿童快乐学习”的地方。在第一年，卡浦尔访问了拉贾斯坦邦和马哈拉斯特拉邦的学校，她与学生进行了互动，参加了贾尔纳区 Kasturba Gandhi Balika Vidyalaya 组织举办的筹款活动。
Along with UNICEF India's Goodwill Ambassador (Sharmila Tagore), Kapoor hosted a charity dinner to help raise awareness for the development of underprivileged kids, and launched the 'Child-Friendly School and Systems' (CFSS) package.	与 UNICEF 印度的亲善大使（沙米拉-泰戈）一起，卡浦尔举办了慈善晚宴，旨在增加社会对贫困儿童发展的关注，并推出了“儿童-友好学校和系统”(CFSS) 一揽子方案。
She later donated an equivalent amount of the funds raised during a joint initiative by UNICEF and Groupon for a higher-quality learning environment in Indian schools.	后来她捐助了 UNICEF 与 Groupon 的联合活动筹集到的同等资金，用于改善印度学校的学习环境。
The following year, she awarded 31 students and 5 teachers for their contribution towards the field of education in Chhattisgarh at the concluding ceremony of Child Rights Protection week.	第二年，她在“儿童权利保护”周的闭幕式上为 31 个学生和 5 名教师颁奖，奖励他们对恰蒂斯加尔邦教育领域的贡献。
In the Bahamas after the storm, a boat sailed from Nassau to deliver food and building materials to Eleuthera.	在风暴过后的巴哈马，一艘从拿索启航的船将食物和建筑材料运到伊柳塞拉岛。
After the storm, the National Guard offered shelters for at least 400 homeless residents in Stuart.	风暴过后，美国国民警卫队为斯图亚特 400 名无家可归者提供了避难所。
Of the 7,900 families adversely affected by the hurricane, 4,325 required assistance from the American Red Cross.	共有 7,900 个家庭在飓风中受灾，其中 4,325 个需要美国红十字会的救助。
Farmers in Texas, also affected by a major hurricane, requested growers in Florida wait 15 days so they could sell their citrus crop that fell.	德克萨斯州的农民也受到了大型飓风的影响，请求佛罗里达州的种植户等待 15 天，以便他们有时间扶起倒下的柑橘作物并售卖。
The damaged dam near Tampa initially resulted in waters from the Hillsborough River being pumped into the city's water treatment plant, and a new dam was eventually built in 1944.	坦帕市附近水坝的损坏，最初导致希尔斯堡河水灌入城市的水处理厂，新水坝最终在 1944 年建成。
After starring in a commercial by Mr. Burns for the Springfield Nuclear Power Plant, Homer decides to be an actor.	在主演伯恩斯执导的《Springfield Nuclear Power Plant》后，荷马决定做一名演员。
As he fills out a Screen Actors Guild form at home, Lisa points out that he has only written his middle initial, J, in the blank for his middle name.	当他在家中填写影视演员协会表时，丽莎指出，他在中间名部分只填写了其中间名的首字母 J。
Neither Homer nor Grampa knows that name, but Grampa takes Homer to a farm where Mona, Grampa's wife and Homer's mother, spent some time during her days as a hippie.	荷马和格兰帕都不知道该名称，但格兰帕带荷马到了一家农场，在她还是嬉皮士的日子里，莫纳、格兰帕的妻子和荷马的母亲在那里度过了一些时间。
The farm is run by two middle-aged hippies, Seth and Munchie, who were friends of Mona; they point out a mural that she painted based on an incident at Woodstock, which is dedicated to Homer and reveals his middle name as Jay.	农场的经营者是两个中年嬉皮士：塞特和麦奇，他们是莫纳的朋友；他们指出一幅她根据伍德斯托克的事件所画的壁画，这幅画送给了荷马，其中显示出他的中间名是 Jay。
Seeing how carefree his life would have been as a hippie, Homer decides to become one.	看到作为嬉皮士的妻子是如此的无忧无虑，荷马也决定成为嬉皮士。
He dons a dirty old poncho left behind by Mona and begins to carry a frisbee, but is dismayed to learn that Seth and Munchie are running an organic juice company at the farm.	他把脏雨披放在莫纳后面，开始扔飞盘，但在得知塞特和麦奇在农场经营着一家有机果汁公司后，又开始担心起来。
He persuades them to accompany him on a "freak-out" ride through Springfield, disrupting the citizens' daily lives with silly antics.	他说服他们陪他做一次穿越斯普林菲尔德的反常骑行，以愚蠢的滑稽动作扰乱公民的日常生活。
When the three return to the farm afterward, though, they find that Homer's frisbee has jammed the juicing machinery and caused the loss of an entire shipment of the farm's products.	当三人事后返回农场时，发现荷马的飞盘卡在了果汁机器中，导致农场产品的全部运输中断。
Seth and Munchie angrily order Homer to leave.	塞特和麦奇愤怒地命令荷马离开。
To set things right, Homer sneaks back to the farm at night, picks and processes all the vegetables he can find, and delivers the juice shipment to Springfield.	为改正错误，荷马晚上偷偷地回到了农场，捡拾并处理他能找到的所有蔬菜，并将果汁送到斯普林菲尔德。
In so doing, he unknowingly harvests a hidden field of peyote, which Seth and Munchie had intended for their personal use as recreational drugs.	这样，他无意中获得了一片隐藏的仙人掌，塞特和麦奇计划私自将其用作娱乐性药物。
The juice causes intense psychedelic hallucinations in those who drink it, and the police quickly trace it to the farm and move in to arrest Homer, Seth, and Munchie.	仙人掌的汁会使饮用者产生强烈的幻觉，警方很快追踪到农场，进来逮捕荷马、塞特和麦奇。
Homer defends Seth and Munchie by placing himself in the officers' path, reminding them of the morals and values from the 1960s, and placing a flower in the barrel of each officer's rifle.	荷马保护塞特和麦奇，他自己挡在警察的路上，提醒他们回想 1960 年代的道德和价值观，并且在每个警察的枪管上放一朵花。
When Chief Wiggum fires, Homer ends up hospitalized with one of the flowers lodged in his skull.	队长维古姆开火，荷马最终躺在医院里，脑袋上留下一朵花。
"D'oh-in' in the Wind" was written by Donick Cary and directed by Mark Kirkland and Matthew Nastuk.	“D'oh-in' in the Wind”由汤尼克-卡瑞撰写，马克-柯克兰和马修-纳斯图克执导。
It was first broadcast on the Fox network in the United States on November 15, 1998.	它于 1998 年 11 月 15 日首次在美国的 Fox 网络上广播。
The idea for the episode was pitched by Cary, who thought it would be fun to see the citizens of Springfield hallucinating.	卡瑞提出了制作连续剧集的想法，他认为看到 Springfield 致幻的公民很有趣。
He then fleshed it out, forming its current iteration.	然后他将其具体化，形成目前的复述。
The episode features the revelation of Homer's middle name, "Jay", which is a "tribute" to animated characters such as Bullwinkle J. Moose and Rocket J. Squirrel from The Rocky and Bullwinkle Show who got their middle initial from Jay Ward.	剧集中显示了荷马的中间名“Jay”，这是对动画人物的“颂词”，如 The Rocky 和 Bullwinkle Show 中的 Bullwinkle J. Moose 和 Rocket J. Squirrel，他们的中间名取自 Jay Ward。
The name was pitched on for three days by the writers.	作者花了三天选中这个名字。
DE 62 heads southeast from DE 2 (Kirkwood Highway) on the Newport Gap Pike, a two-lane undivided road.	DE 62 从 DE 2 (Kirkwood Highway) 向东南而行，走双车道无分隔带道路 Newport Gap Pike。
Newport Gap Pike continues northwest past this intersection as DE 41.	Newport Gap Pike 越过此交汇点后，向西北延伸，成为 DE 41。
The road crosses Old Capitol Trail, which marks the official beginning of the route.	道路穿过 Old Capitol Trail，这里标志着路线的正式开始。
DE 62 heads through suburban residential and commercial developments, crossing the Wilmington and Western Railroad and CSX's Philadelphia Subdivision railroad line.	DE 62 向前穿过郊区住宅和商业开发区，穿过威尔明顿以及西部铁路和 CSX 的 Philadelphia Subdivision 铁路线。
The road passes more development and reaches the community of Belvedere, where it comes to a ramp from southbound DE 141.	道路经过更多开发区，到达 Belvedere 社区，来到南向 DE 141 的一个坡道。
At this point, the route turns east onto Boxwood Road, a four-lane divided highway, with Newport Gap Pike continuing south to provide access to southbound DE 141.	在这里，道路向东拐入 Boxwood Road，这是一条四车道的有隔离带高速公路，Newport Gap Pike 往南延伸，可进入南向 DE 141。
DE 62 passes over the DE 141 freeway and intersects Centerville Road, which provides access to and from northbound DE 141.	DE 62 经过 DE 141 高速公路，与 Centerville Road 交汇，从那里可进入和驶出南向 DE 141。
Past this intersection, the road becomes two lanes and undivided, passing to the south of the former Wilmington Assembly plant used by General Motors and to the north of residential subdivisions.	过了这个交汇点，道路变成双车道，无隔离带，转到前通用以前的 Wilmington Assembly 工厂南部，进入住宅区的北部。
DE 62 continues through more residential neighborhoods, passing to the north of the Conrad Schools of Science, and reaches an intersection with DE 4, where DE 62 signage ends.	DE 62 继续穿过更多住宅区，转到 Conrad Schools of Science 的北部，到达与 DE 4 的交汇点，DE 62 标志在此结束。
The route officially continues east on Middleboro Road through more neighborhoods, intersecting Dupont Road before coming to a dead end.	据传路线在 Middleboro Road 继续往东，穿过更多街区，与 Dupont Road 交汇后达到尽头。
DE 62 has an annual average daily traffic count ranging from a high of 23,750 vehicles at the intersection of Newport Gap Pike and Boxwood Road to a low of 283 vehicles at the eastern terminus.	DE 62 每年的平均每日车流量在 Newport Gap Pike 与 Boxwood Road 的交汇点最高，达到 23,750 辆，在东边的终点最低，为 283 辆。
None of DE 62 is part of the National Highway System.	DE 62 的任何一段都不属于国家高速系统。
What is now the Newport Gap Pike portion of DE 62 was originally chartered as the Gap and Newport Turnpike in 1808, an extension of the 1807-chartered turnpike in Pennsylvania that was to run from Gap, Pennsylvania, southeast to Newport, Delaware.	现在 DE 62 的 Newport Gap Pike 部分，最初在 1808 年特许为 Gap 和 Newport Turnpike，是 1807 年宾夕法尼亚州收费关卡的延伸，收费路程从宾夕法尼亚 Gap 往东南，直到特拉华州 Newport。
By 1920, what is now DE 62 existed as a county road.	到 1920 年，现在的 DE 62 成为县级公路。
The Newport Gap Pike portion of the route became a state highway by 1925.	路线的 Newport Gap Pike 部分在 1925 年成为州级高速公路。
This state highway became a part of DE 41 by 1936, when Delaware designated its state highways.	这条州级高速公路在 1936 年成为 DE 41 的一部分，当时特拉华州标定为其州级高速公路。
In 1946, Boxwood Road was improved to provide access to the new General Motors plant along the road.	1946 年，Boxwood 路经过升级改造，可以进入沿途设立的通用新工厂。
By 1981, DE 62 was designated onto its current alignment, with the Newport Gap Pike section replacing a portion of DE 41.	到 1981 年，DE 62 被指定为目前的路线，以 Newport Gap Pike 段替换了 DE 41 部分。
In a world where people with superpowers (known as "Quirks" (個性 Kosei)) are the norm, Izuku Midoriya has dreams of one day becoming a Hero, despite being bullied by his classmates for not having a Quirk.	在一个超人（称为 "Quirks" (個性 Kosei)）是常态的世界，Izuku Midoriya 梦想有一天变成英雄，尽管因为没有 Quirk 而被同学欺负。
After being the only one to try and save his childhood bully Katsuki Bakugo from a villain, Japan's greatest Hero All Might saves him and bestows upon him All Might's own Quirk "One For All".	在成为唯一尝试从恶人那里救出其孩提时代的恶霸 Katsuki Bakugo 后，日本最伟大的英雄 All Might 救了他，并授予他 All Might 自己的 Quirk "One For All"。
The story follows Izuku's entrance into U.A. High School (雄英高校 Yūei Kōkō), a school for training the next generation of superheroes.	Izuku 入读 U.A. High School (雄英高校 Yūei Kōkō)，这是一所培训下一代超人的学校，故事就此展开。
Izuku and his new friends try to balance their Hero training with ordinary school duties.	Izuku 和他的新朋友尝试平衡超人训练与普通学校职责之间的关系。
However, the League of Villains, an evil organization established by All Might's archenemy All For One, has plans to destroy all Heroes and take control of society.	但 All Might 的魔王 All For One 组建的邪恶组织“恶人联盟”计划毁掉所有超人并控制社会。
My Hero Academia is a Japanese manga series written and illustrated by Kōhei Horikoshi.	My Hero Academia 是一部日本系列漫画，由 Kōhei Horikoshi 撰写和绘制。
It originated from the one-shot My Hero (僕のヒーロー Boku no Hīrō), which Horikoshi wanted to turn into a series following the end of Barrage.	它源自一张照片 My Hero (僕のヒーロー Boku no Hīrō)，Horikoshi 想在 Barrage 结束后将其变成一部系列漫画。
It began its serialization in the manga magazine Weekly Shōnen Jump on July 7, 2014.	它于 2014 年 7 月 7 日开始在漫画杂志 Weekly Shōnen Jump 上连载。
As of August 2, 2019, the series has been collected into twenty-four tankōbon volumes.	截止于 2019 年 8 月 2 日，该系列汇集成二十四册。
The series is licensed for the English-language release in North America by Viz Media, who published the first volume on August 4, 2015.	Viz Media 获得许可在北美以英语出版这部系列漫画，2015 年 8 月 4 日出版了第一册。
As the series is published in Japan, it is also released simultaneously in English digitally by Viz Media's Weekly Shōnen Jump.	随着该系列在日本出版，它也同时由 Viz Media 的《周刊少年 Jump》以数字形式发布英文版本。
As of August 7, 2018, 14 volumes have been released.	截至 2018 年 8 月 7 日，已经发布了 14 卷。
Shueisha began to simulpublish the series in English on the website and app Manga Plus in January 2019.	2019 年 1 月，集英社开始在网站和 Manga Plus 应用上模拟出版该系列的英文版本。
A spin-off series entitled My Hero Academia Smash!!	一个名为《我的英雄学院》的衍生系列大获成功！
by Hirofumi Neda started in the Jump+ digital app on November 9, 2015 and finished on November 6, 2017.	内田广文的作品于 2015 年 11 月 9 日在 Jump+ 数字应用中开始连载，于 2017 年 11 月 6 日完结。
Five tankōbon volumes were released as of November 2017.	截至 2017 年 11 月，共发行了 5 卷漫画书。
The series has been licensed by Viz Media.	该系列已获得 Viz Media 的授权。
Another spin-off series, My Hero Academia: Vigilantes, began being published by Weekly Shōnen Jump in 2017.	另一个衍生系列《我的英雄学院：Vigilantes》于 2017 年开始由 Weekly Shōnen Jump 出版。
The series is licensed for the English-language release in North America by Viz Media.	该系列由 Viz Media 授权在北美发行英文版本。
The first volume was released in English on July 3, 2018.	英文版的第一卷于 2018 年 7 月 3 日发布。
On 30 July 1502, during his fourth voyage, Christopher Columbus arrived at Guanaja, one of the Bay Islands off the coast of Honduras.	1502 年 7 月 30 日，克里斯多弗·哥伦布在他的第四次航行中，抵达了洪都拉斯海岸外的海湾群岛之一瓜纳哈。
He sent his brother Bartholomew to scout the island.	他派他的兄弟巴塞洛缪去侦察这座岛。
As Bartholomew explored the island with two boats, a large canoe approached from the west, apparently en route to the island.	当巴塞洛缪带领两艘船探索这座岛时，一艘大型独木舟从西边驶来，显然也是要去这座岛。
The canoe was carved from one large tree trunk and was powered by twenty-five naked rowers.	独木舟由一根大树干雕刻而成，上面有二十五个裸身的桨手在划船。
Curious as to the visitors, Bartholomew Columbus seized and boarded it.	巴塞洛缪·哥伦布对来访者感到好奇，他抓住并登上了船。
He found it was a Maya trading canoe from Yucatán, carrying well-dressed Maya and a rich cargo that included ceramics, cotton textiles, yellow stone axes, flint-studded war clubs, copper axes and bells, and cacao.	他发现这是一艘来自尤卡坦的玛雅贸易独木舟，船上载着穿着考究的玛雅人和丰富的货物，包括陶瓷、棉织品、黄石斧、镶有燧石的战棍、铜斧和铃铛以及可可。
Also among the cargo were a small number of women and children, probably destined to be sold as slaves, as were a number of the rowers.	货物中也有可能注定要作为奴隶被贩卖的少量妇女和儿童，还有一些桨手。
The Europeans looted whatever took their interest from amongst the cargo and seized the elderly Maya captain to serve as an interpreter; the canoe was then allowed to continue on its way.	欧洲人从货物中掠夺走他们感兴趣的任何东西，并抓住了年迈的玛雅船长作为翻译；之后，独木舟被允许继续航行。
This was the first recorded contact between Europeans and the Maya.	这是欧洲人和玛雅人之间第一次有记录的接触。
It is likely that news of the piratical strangers in the Caribbean passed along the Maya trade routes – the first prophecies of bearded invaders sent by Kukulkan, the northern Maya feathered serpent god, were probably recorded around this time, and in due course passed into the books of Chilam Balam.	加勒比海陌生海盗的消息很可能是沿着玛雅的贸易路线传播的，由库库尔坎（玛雅北部的羽蛇神）发出的蓄须入侵者的第一个预言可能是在这个时候记录下来的，并在适当的时候传入了《契兰·巴兰书》中。
In 1511 the Spanish caravel Santa María de la Barca set sail along the Central American coast under the command of Pedro de Valdivia.	1511 年，在佩德罗·德·瓦尔迪维亚的指挥下，西班牙“Santa María de la Barca”号帆船沿着中美洲海岸启航。
The ship was sailing to Santo Domingo from Darién to inform the colonial authorities there of ongoing conflict between conquistadors Diego de Nicuesa and Vasco Nuñez de Balboa in Darién.	这艘船从达连驶向圣多明各，目的是通知当地的殖民当局征服者 Diego de Nicuesa 和 Vasco Nuñez de Balboa 之间正在发生的冲突。
The ship foundered upon a reef known as Las Víboras ("The Vipers") or, alternatively, Los Alacranes ("The Scorpions"), somewhere off Jamaica.	这艘船在撞到牙买加附近一个被称为 Las Víboras(“毒蛇”)或 Los Alacranes（“蝎子”）的暗礁之后沉没了。
There were just twenty survivors from the wreck, including Captain Valdivia, Gerónimo de Aguilar and Gonzalo Guerrero.	沉船中只有 20 名幸存者，包括瓦尔迪维亚 船长、赫罗尼莫·德·阿基拉尔和冈萨洛·格雷罗。
They set themselves adrift in one of the ship's boats, with bad oars and no sail; after thirteen days during which half of the survivors died, they made landfall upon the coast of Yucatán.	他们登上了一艘船载小艇开始漂流，但这艘小艇桨坏了，也没有帆。十三天后，有一半的幸存者死亡，剩下的人在尤卡坦海岸登陆。
There they were seized by Halach Uinik, a Maya lord. Captain Vildivia was sacrificed with four of his companions, and their flesh was served at a feast.	在那里，他们被玛雅领主 Halach Uinik 抓住。维尔迪维亚船长和他的四个同伴一起被当作祭品，他们的肉被摆在盛宴之上。
Aguilar and Guerrero were held prisoner and fattened for killing, together with five or six of their shipmates.	阿吉拉尔、格雷罗和他们的五、六名船员一起被关进监狱，并被养肥以便为屠宰做准备。
Aguilar and Guerrero managed to escape their captors and fled to a neighbouring lord who was an enemy of Halach Uinik; he took them prisoner and kept them as slaves.	阿吉拉尔和格雷罗设法从他们的绑架者手中逃脱，并逃到了一个与 Halach Uinik 为敌的邻近领主那里；这个领主将他们囚禁起来，并把他们当作奴隶。
After a time, Gonzalo Guerrero was passed as a slave to the lord Nachan Can of Chetumal.	过了一段时间，冈萨洛·格雷罗成了切图马尔领主 Nachan Can 的奴隶。
Guerrero became completely Mayanised and served his new lord with such loyalty that he was married to one of Nachan Chan's daughters, Zazil Ha, by whom he had three children.	格雷罗完全变成了玛雅人，他忠诚地侍奉他的新领主，娶了 Nachan Chan 的一个女儿 Zazil Ha 为妻，并与她生了三个孩子。
The Acra was not the first Hellenistic stronghold in Jerusalem.	阿克拉并不是耶路撒冷的第一个希腊化据点。
Sources indicate that an earlier citadel, the Ptolemaic Baris, had also occupied a location overlooking the Temple's precincts.	有资料表明，早期的堡垒，即托勒密时期的巴里斯，也曾占据过俯瞰圣殿的位置。
Although the exact location of the Baris is still debated, it is generally accepted to have stood north of the Temple Mount on the site later occupied by the Antonia Fortress.	尽管对巴里斯的确切位置仍然存在争议，但人们普遍认为它位于圣殿山以北，后来被安东尼亚要塞占据的地方。
The Baris fell to Antiochus III at the turn of the 2nd century BCE and is absent from all accounts of the Maccabean Revolt.	巴利斯王朝在公元前 2 世纪初落入安条克三世之手，在所有马卡比起义的记载中都没有出现。
Despite the narratives which have the Acra constructed within a very short time-span, it was nevertheless formidable enough to weather long periods of siege.	尽管有叙述说阿克拉是在极短的时间内建成的，但它仍然足够强大，足以经受长时间的围攻。
These factors, coupled with references in which the Baris was itself called an acra, have led some to suggest that the Baris and the Acra were in fact the same structure.	这些因素，加上巴里斯本身被称为阿克拉，导致一些人认为巴里斯和阿克拉实际上是同一个体系。
Although both 1 Maccabees and Josephus seem to describe the Acra as a new construction, this may not have been the case.	虽然《马加比一书》和约瑟夫斯似乎都将阿克拉描述为一个新的建筑，但事实可能并非如此。
Antiquities of the Jews 12:253 may be translated to give the sense that the "impious or wicked" had "remained" rather than "dwelt" in the citadel, which could be taken to mean that the Acra had been standing before the revolt and that only the Macedonian garrison was new.	《犹太古史》12:253 可翻译为“不虔诚或邪恶的人”“留在”而不是“住在”城堡里的意思，这样便可以认为阿克拉在起义前就已经矗立于此，只有马其顿的驻军是新的。
Koen Decoster proposes that Josephus wrote of "a citadel in the lower part of the city" to an audience that would have been familiar with the Jerusalem of the 1st century CE—a city that did feature two citadels: the Antonia Fortress and the Herodian palace.	柯恩·德科斯特认为，约瑟夫斯笔下的“城市下部的城堡”是写给那些熟悉公元 1 世纪的耶路撒冷的读者：这座城市确实有两个城堡：安东尼亚要塞和希律王宫。
As Josephus' Roman Jerusalem had already expanded to the higher western hill, "a citadel in the lower city" could have referred to anything located east of the Tyropoeon Valley, including the Antonia which stood north of the Temple and did indeed rise above and dominate it.	由于约瑟夫斯的罗马耶路撒冷已经扩大到更高的西部山丘，“位于城市下层的城堡”可能是指位于泰罗边谷东部的任何事物，包括位于圣殿北部的安东尼亚，它确实高于圣殿并支配着它。
In his view, this is the place Josephus must have had in mind when he wrote of the Acra.	在他看来，这一定是约瑟夫斯在写下阿克拉时想到的地方。
Opponents of a northern location counter that this site is not supported by the historical sources, and that this would place the Acra away from Jerusalem's population center.	北部地点的反对者驳斥说，这一地点未能获得历史资料的支持，而且这将使阿克拉远离耶路撒冷的人口中心。
Unlike its predecessor and successor citadels, it was not meant as a defence against external threat, but rather to oversee the inhabited Jewish parts of the city, a role incompatible with a proposed northern location.	与其前身和后继者的城堡不同，它并不是为了抵御外部威胁，而是为了监管这座城市的犹太人居住区，这一作用与提议中的北部位置不符。
The available sources do indicate the Acra stood south of the temple, and because 1 Maccabees is a contemporaneous account of the Maccabean revolt, its account of the Acra (1:35–38) is considered the most reliable.	现有资料确实表明阿克拉位于圣殿的南面，因为《马加比一书》是对马加比起义的同时代记述，它对阿克拉的记述 (1:35-38) 被认为是最可靠的。
Josephus provides an unlikely account of the razing of a hill on which the Acra had stood, yet his description of the end of the Great Revolt (70 CE) provides additional evidence for it being located south of the Temple Mount:	约瑟夫斯提供了一个关于夷平阿克拉曾经所在山丘不太可能的叙述，但他对大起义结束（公元 70 年）的描述为它位于圣殿山以南的事实提供了额外的证据。
...but on the next day they set fire to the repository of the archives, to Acra, to the council-house, and to the place called Ophlas; at which time the fire proceeded as far as the palace of queen Helena, which was in the middle of Acra;	...但在第二天，他们放火烧了档案室、阿克拉、议事厅和一个叫 Ophlas 的地方；当时，大火一直蔓延到海伦娜女王的宫殿，那是在阿克拉的中心。
— Flavius Josephus, The Wars of the Jews 6:354	— 弗拉维奥·约瑟夫斯，《犹太人的战争》6:354
As the other buildings mentioned in the account all stood to the south in the Lower City, this also places the Acra there.	由于记载中提到的其他建筑都位于城市下层的南面，这也将阿克拉放在了那里。
This account attests to the persistence of the name "Acra" in this part of Jerusalem many years after Hellenistic rule ended and its citadels had been overthrown, and it can also be seen as referring not to a distinct building but rather to an entire region of the city.	这段记载证明了在希腊统治结束和城堡被推翻多年后，“阿克拉”这个名字在耶路撒冷的这一地区仍然存在，当然，可以认为它指的不是一个独特的建筑，而是城市的整个区域。
Indeed, several clauses in 1 Maccabees may be read as making a similar point:	事实上，《马加比一书》中的几个段落可以被理解为表达了类似的观点：
The "Right Action" official video was released on 7 July 2013, directed by Jonas Odell, and the video for "Love Illumination" was released on 24 July 2013, directed by Tim Saccenti.	《Right Action》官方视频于 2013 年 7 月 7 日发布，由乔纳斯·奥登执导。《Love Illumination》官方视频于 2013 年 7 月 24 日发布，由蒂姆·萨肯蒂执导。
On YouTube, the "Right Action" music video has received over 3 million views and the "Love Illumination" music video has received over 4 million views.	在 YouTube 上，《Right Action》和《Love Illumination》的点击量分别超过了 300 万和 400 万。
The "Evil Eye" official music video was released on 8 September 2013 and was directed by Diane Martel, who is known for directing videos for various Top 3 hits such as "Blurred Lines", "Just Give Me a Reason", "We Can't Stop", and one of the bands' hit singles, "Do You Want To".	《EviL Eyes》官方音乐短片于 2013 年 9 月 8 日发布，由黛安·马特尔执导，她以执导各种点击率前三名的视频而闻名，如《Blurred Lines》、《Just Give Me a Reason》、《We Can’t Stop》和乐队的热门单曲《Do You Want To》。
The band released the official video for "Bullet" on 18 November 2013 and was directed by Andy Knowles.	乐队于 2013 年 11 月18 日发布了《Bullet》的官方视频，由安迪·诺尔斯执导。
The official music video for "Fresh Strawberries" was released on 12 March 2014 and was directed by Margarita Louca.	《Fresh Strawberries》的官方音乐短片于 2014 年 3 月 12 日发布，由玛格丽塔·卢卡执导。
The official music video for "Stand on the Horizon" was released on 3 August 2014 and was directed by Karan Kandhari.	《Stand on The Horizon》的官方音乐视频于 2014 年 8 月 3 日发布，由凯伦·坎达里执导。
On 20 August 2013, the band played at Electric Brixton in London, for a crowd of approximately 1,500 fans.	2013 年 8 月 20 日，乐队在伦敦的 Electric Brixton 为大约 1500 名粉丝献上了演出。
The opening song was "Right Action" and the concert featured several songs of the new album.	开场曲是《Right Action》，演唱会上主打新专辑中的几首歌曲。
A concert in Glasgow followed on 21 August 2013.	2013 年 8 月 21 日，在格拉斯哥举办了一场音乐会。
The band went on a world tour until the near end of 2014, performing both regular shows as well as concerts at several music festivals.	直到 2014 年底，该乐队一直在进行世界巡演，既有定期演出，也有在几个音乐节上举办的音乐会。
The property has two remaining outbuildings.	这处地产有两座附属建筑。
The barn is where Glidden invented his famous improvement on barbed wire.	格利登在谷仓发明了著名的带刺铁丝网并加以改进。
Dubbed "The Winner," his barbed wire became the most popular version of the invention.	他的带刺铁丝网被称为“胜利者”，成为最受欢迎的发明版本。
Barbed wire is considered to be one of the most important factors in American progress and settlement.	带刺铁丝网被认为是美国进步和殖民的最重要因素之一。
The other outbuilding on the property along historic Lincoln Highway are the remnants of a once dominating windmill.	在历史悠久的林肯公路沿线，这处地产的另一栋附属建筑是一座曾极具影响力的风车遗迹。
Though only the foundation remains, it gives a glimpse of how impressive the structure must have once been.	虽然只剩下地基，但它让人们看到了这座建筑曾经有多么令人印象深刻。
The Glidden Barn, located to the rear and east of the home, was thought to have been added to the National Register of Historic Places when the original nomination for the house was approved in 1973. However, in the late 1990s, the Illinois Historic Preservation Agency revealed that the nomination included only the house.	格利登谷仓位于房屋的后方和东侧，在 1973 年最初的提名获得批准时，人们认为它已经列入美国国家史迹名录。然而，在 20 世纪 90 年代末，伊利诺伊州历史保护机构透露，提名名单中只包含房屋。
The Glidden Historical Center initiated the process of adding the barn to the Register.	格利登历史中心启动了将谷仓加入史迹名录的流程。
Those moves were approved by the Illinois Historic Sites Advisory Council in 2002 and the barn officially became part of the National Register.	这些行动在 2002 年获得了伊利诺伊州历史遗址咨询委员会的批准，谷仓正式成为国家史迹的一部分。
The barn was built sometime around 1871, possibly even before, and is constructed of the same soft brick that makes up the exterior of the home.	谷仓建于 1871 年左右，甚至可能更早，由构成房屋外部的相同软砖建造。
Tradition in the Glidden family holds that the barn, like the house itself, was designed and built by prominent local carpenter Jacob Haish.	根据格利登家族的传说，谷仓和房屋本身一样，均由当地著名的木匠雅各布·海什设计和建造。
The famous barn, one of DeKalb County's oldest remaining, stands a full two-stories high, measuring around 50 feet (15 m) tall, with a width of 30 feet (9 m).	这座著名的谷仓是迪卡尔布县现存的最古老谷仓之一，有整整两层楼高，高约 50 英尺（15 米），宽 30 英尺（9 米）。
In February 2007 the Glidden Homestead and Historical Center kicked off a fundraising drive.	2007 年 2 月，格利登家园和历史中心发起了一项筹款活动。
The drive is aimed at raising US$2 million to expand the Joseph F. Glidden House site to include museum space and a media center.	这项活动的目标是筹集 200 万美元，以扩建约瑟夫·F·格莱登之家的场地，包括博物馆空间和一个媒体中心。
Some of the funds will be used to help restore the barn and expand historical center museum space into the building.	部分资金将用于修复谷仓，并将历史中心博物馆的空间扩展到建筑中。
The Glidden barn is of pole and beam construction.	格利登谷仓采用了杆梁结构。
The second-floor interior is dominated by two large transverse wooden beams.	二楼内部以两根大型横向木梁为主。
It is of the three-bay, English tradition, the west bay containing a space for a stairwell leading to a hayloft and seven stalls.	它是一座传统的英国三层建筑，西隔间有一个通往干草棚和七个马厩的楼梯间。
It is constructed of red brick and stands on a foundation of limestone.	它由红砖建造，以石灰石作为地基。
Glidden's barn took full advantage of the term vernacular; the brick was locally manufactured and the limestone locally quarried.	格利登的谷仓充分利用了当地条件；砖是当地生产的，石灰石是当地开采的。
After touring with Something Corporate in January and February 2005, McMahon began playing shows with Jack's Mannequin in March and debuted material from the project.	在 2005 年 1 月和 2 月与 Something Corporate 完成巡回演出后，麦克马洪从 3 月开始与 Jack's Mannequin 一起演出，而专辑中的曲目也首次亮相。
McMahon's backing band, named the Mannequins, consisted of Anderson and Jacques Brautbar on guitar, Jon Sullivan on bass and Jay McMillan on drums.	麦克马洪的伴奏乐队名为“人体模型”，由吉他手安德森和雅克·布劳特巴、贝斯手乔恩·沙利文和鼓手杰伊·麦克米兰组成。
Anderson studied music with Sullivan at Virginia Commonwealth University; Sullivan had been friends with McMillan for a few years.	安德森在弗吉尼亚联邦大学与沙利文一起学习音乐；沙利文与麦克米兰是多年的好朋友。
On April 17, Jack's Mannequin's debut album was announced for release in the coming summer through Maverick Records.	4 月 17 日，Maverick Records 宣布将在即将到来的夏天发行 Jack's Mannequin 的首张专辑《Mannequin》。
Another announcement followed four days later, revealing the album's title, Everything in Transit, and the release date of July 12.	四天后又发布了一份声明，公布了专辑的名称为《Everything in Transit》，发行日期为 7 月 12 日。
In May, the group embarked on a six-week tour to build up hype for the album.	5 月，这支乐队开始了为期六周的巡演，为专辑宣传造势。
On May 10, "Holiday from Real" was released as a 7" vinyl single, featuring two versions of "Kill the Messenger" (the album version and an acoustic version) as B-sides.	5 月 10 日，《Holiday from Real》以 7 寸黑胶单曲的形式发行，其中《Kill the Messenger》的两个版本（专辑版和原声版）作为 B 面。  
On May 20, two songs were made available for streaming through the band's Myspace account.	5 月 20 日，这支乐队的 Myspace 帐户上提供了两首歌曲的流媒体版本。
Two days later, it was announced the album's release date was pushed back to August 9 as "Dark Blue" was written and recorded for inclusion on it.	两天后，这张专辑的发行日期被推迟到 8 月 9 日，因为专为收录在专辑中的《Dark Blue》已经完成了创作和录制。
Around this time, McMahon started feeling sick while on tour, suffering from chronic fatigue and laryngitis.	大约在这个时候，麦克马洪在巡演时开始感到不适，患上了慢性疲劳症和咽喉炎。
On May 25, he contacted his doctor, who said he should cancel the following night's show as he could face permanent damage to his voice.	5 月 25 日，他联系了医生，医生建议他取消第二天晚上的演出，因为他的声音可能会面临永久性损伤。
He met with his doctor who ran some blood tests after seeing McMahon's pale complexion.	他与他的医生会面，医生在看到麦克马洪苍白的脸色后做了一些血液检查。
Two days later, during a mastering session for the album, McMahon received a phone call.	两天后，在专辑母带制作过程中，麦克马洪接到一个电话。
His doctor said he needed a blood transfusion.	他的医生说他需要输血。
He checked in to the Presbyterian Hospital in New York City, where he was sent directly to the leukemia ward.	他住进了纽约长老会医院，在那里他被直接送到白血病病房。
McMahon spent the next few days waiting for the results of a bone marrow sample taken from his hip.	接下来的几天，麦克马洪一直在等待从他臀部采集的骨髓样本的结果。
On June 1, he was diagnosed with acute lymphoblastic leukemia.	6 月 1 日，他被诊断出患有急性淋巴细胞白血病。
All upcoming tour dates with both Jack's Mannequin and Something Corporate were postponed indefinitely.	Jack's Mannequin 和 Something Corporate 即将举办的所有巡演都被无限期推迟。
He flew to Los Angeles and was admitted to the UCLA Medical Center and underwent a first round of chemotherapy.	他飞到洛杉矶，住进了加州大学洛杉矶分校医疗中心，接受了第一轮化疗。
As he was at an unusual age to get cancer, there was a debate whether to put him on an adult regimen or a vigorous pediatric treatment.	由于他在不寻常的年龄患上癌症，因此在让他接受成人治疗还是积极的儿童治疗方面存在争议。
Director Anthony Mandler filmed the music video for "Only Girl (In the World)" at a location two hours from Los Angeles.	导演安东尼·曼德勒在距离洛杉矶两小时车程的地方拍摄了《Only Girl (In the World)》的音乐短片。
Rihanna told JustJared.com that the video was filmed in a "big landscape" so she was the only person in the frame, echoing the song's title.	蕾哈娜告诉 JustJared.com，这部短片是在一个“盛景”中拍摄的，因此她是画面中唯一的一个人，这与歌曲的名字相呼应。
The singer is also "frolicking in a red field and lying in a bed of flowers." The video features large balloons in different colours, a swing hanging from the sky and a tree with multi-colored lights.	这位歌手还“在红色的田野里嬉戏，躺在鲜花摆成的床上。”视频里有不同颜色的大气球，悬挂在空中的秋千，还有一棵挂满五颜六色灯光的树。
Rihanna's outfits include a mohair sweater, a floral miniskirt and a white-bra-and-boyshorts two-piece.	蕾哈娜的服装包括一件马海绒衫、一件碎花迷你裙和一件白色内衣加平角裤两件套。
Entertainment Weekly writer Tanner Stransky praised the video's simplicity, noting that it seems "as if Rihanna is speaking directly to you, the viewer, and she is your one and only amid swallowing rolling, beautiful, swallowing landscapes.	《娱乐周刊》作家坦纳·斯特兰斯基称赞了这段视频的简洁，指出“蕾哈娜似乎是在直接对你（即观众）说话，她是你眼中唯一在摇曳的美丽风景。
It's an effect that makes you focus squarely on [Rihanna], who's ensconced in flirty outfits." According to Joyce Lee of CBS, Rihanna appeared to have progressed from the "edgy" music videos of the Rated R singles to a more feminine, colourful tone.	这种效果会让你把注意力完全集中在 [蕾哈娜] 身上，她穿着妩媚的服装，让人赏心悦目。”据 CBS 的乔伊斯·李称，蕾哈娜似乎已经从R 级单曲的“前卫”音乐视频发展到了更女性化、色彩更丰富的基调。
A Mail Online reviewer and Seth Sommerfield of Spin echoed Lee's comments, with the former calling it "beautifully shot" and the latter "whimsical [and] beautiful".	《每日邮报》的一位评论员和 Spin 的赛斯•萨默菲尔德对李的评论表示赞同，前者称其“拍得很美”，后者则称“异想天开、美不胜收”。
The Mail Online reviewer called the video a departure from the "hard-edged, heavier image" music videos of Rated R.	《每日邮报》的评论员称，这段视频与 R 级音乐短片中“硬派、粗犷的形象”风格截然不同。
Billboard reviewer Jason Lipshutz described the tree with flashing lights as "surreal imagery."	Billboard 评论员杰森·利普舒茨形容这棵闪烁着灯光的树是“超现实的意象”。
Rihanna performed "Only Girl (In the World)" and a solo version of "What's My Name?" on Saturday Night Live in New York City on October 30, 2010.	2010 年 10 月 30 日，蕾哈娜在纽约“周六夜现场”上演唱了《Only Girl (In the World)》和《What's My Name?》。
The next day, she flew to London to perform the song on The X Factor.	第二天，她飞到伦敦，在 The X Factor 上演唱了这首歌。
Rihanna's dancers had a food fight with cakes and cream while she sang, and the show's producers had only one minute to clear the stage before the weekly elimination results were announced.	在蕾哈娜演唱的同时，她的舞者们用蛋糕和奶油展开了一场食物大战。在每周的淘汰赛结果公布之前，节目的制作人只有一分钟的时间来清理舞台。
On November 7 she performed the song at the MTV Europe Music Awards in Madrid, wearing a "fairy tale"-inspired ensemble and walking through a set of flowers against a sunset.	11 月 7 日，她在马德里举行的 MTV 欧洲音乐奖颁奖典礼上演唱了这首歌，她身着一套以“童话”为灵感的服装，在夕阳的映衬下缓缓走过一排鲜花。
Two days later, Rihanna sang "Only Girl (In the World)" on the Italian version of The X Factor in a floral-print bikini, boots and a red pigtail.	两天后，蕾哈娜在意大利版的 The X Factor 上演唱了《Only Girl (In the World)》。
The next day she flew to France to sing the song on Le Grand Journal, on a set covered with white balloons.	第二天，她飞到法国，在“Le Grand Journal”上演唱了这首歌，现场布满了白色气球。
The singer returned to London on November 11 to record an interview for The Graham Norton Show, which included a live performance of "Only Girl (In the World)".	11 月 11 日，这位歌手回到伦敦，录制了《格拉汉姆·诺顿秀》的采访，其中包括现场演唱《Only Girl (In the World)》。
Rihanna opened the American Music Awards with a medley of songs from Loud.	蕾哈娜以《Loud》中的一系列组曲揭开了全美音乐奖的序幕。
She began with an a cappella version of "Love the Way You Lie (Part II)", sitting on a stylized tree of lights above "a field of sable-colored blades of grass." Rihanna then sang a solo version of "What's My Name?" and a short version of "Only Girl (In the World)". According to Mawuse Ziegbe of MTV News, the singer "kicked up the island theme" as drummers in tribal dress circled her.	她以无伴奏版本的《Love the Way You Lie (Part II)》开场，坐在一棵风格独特的灯光树上，上面是“一片貂皮色的草叶”。蕾哈娜随后演唱了独唱版的《What's My Name?》和简短版的《Only Girl (In the World)》。据 MTV News 的马武塞·齐格贝报道，当穿着部落服装的鼓手围绕着她时，她“开始唱到岛屿主题”。
Rihanna performed a short version of "Only Girl (In the World)" at the 31st Brit Awards on February 15, 2011, as part of a medley with two other singles from Loud: "S&M" and "What's My Name?". She had planned to perform "S&M" only (to coincide with its United Kingdom release), but was asked by the British Phonographic Industry to "tone down the sexual references in the song's lyrics".	2011 年 2 月 15 日，蕾哈娜在第 31 届全英音乐奖上演唱了《Only Girl (In the World)》的简短版，这首歌与《Loud》中的另外两首单曲《S&M》和《What's My Name?》构成了组曲。她原本计划只表演《S&M》（以便配合其在英国的发行），但英国唱片业协会要求她“淡化歌词中的性暗示”。
Rihanna was reportedly angered at the request and a related one to perform a different song.	据报道，蕾哈娜对这一要求和一位相关人士演唱另一首歌的要求感到愤怒。
